






HARRY WILLIAM TEMPLE 




D.G. HEATH & COMPANY 




Class_/_&51^ 
Book. 



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COEffilCHI DEPOSm 




ALL THIS WORK WAS BUILT IN THE AUTHOR'S CLASSES BY HIS BOYS 



PRACTICAL DRAWING 



BY 

HARRY WILLIAM TEMPLE 

TEACHER OF DRAWING, CRANE TECHNICAL HIGH SCHOOL, CHICAGO 

FORMERLY TEACHER OF WOODWORK, HARRISON TECHNICAL 

HIGH SCHOOL. TEACHER OF WOODWORK AND DRAWING 

LAKE VIEW HIGH SCHOOL, CHICAGO, SUPERVISOR 

OF INDUSTRIAL WORK ST. CHARLES STATE 

SCHOOL FOR BOYS, ILLINOIS 




D. C. HEATH & CO., PUBLISHERS 

BOSTON NEW YORK CHICAGO 



T3 



" The value of drawing as an educational agency is 
simply incalculable. II is Ihe first step in manual train- 
ing. It brings the eye and the mind into relations of the 
closest intimacy, and makes the hand the organ of both. 
It trains and develops the sense of form and proportion, 
renders the eye accurate in observation, and the hand 



cunning in execution. 



Charles H. Ham 



FEB -1 i3i? 



I A7 



Copyright, 1917, by D. C. Heath & Co. 
^0CI,A455473 



"Drawing is a langtiage — the language in which art 
records the discoveries of science. It is not German, it 
is not French, it is not English — it is universal — com- 
mon to all draughtsmen. The face of the student exhibits 
vivid flashes of intelligence as the picture reveals itself 
under his hand. Each line is a word, an angle completes 
the sentence; with a curve and a little delicate shading 
we have a paragraph. The picture begins to grow with 
thought. The student's face flushes, his heart beats quick 
and his hand trembles. But he restrains himself, and 
adds more lines, more angles and curves, more shading, 
and the picture is complete. It stands out in bold relief, 
and looks like a real thing. If the student knows the 
story of the brazen statue of Alberlus Magnus he half 
expects his picture of a locomotive to move. He listens 
for the sound of the hissing steam, and a smile lights up 
his face as the illusion vanishes. Presently he will take 
his drawing to the shop, and at the bench, the lathe, the 
anvil, and Ihe forge, reproduce it in iron and steel, and 
actually vitalise il with steam:'-' 

Charles H. Ham 



INTRODUCTION BY SUPERVISOR R. M. SMITH 



The purpose of this book is to give the pupils in 
the upper grades and in the junior high school facility 
in the reading and rendering of working drawings. 

Logically a printed text in the hands of the pupils 
is essential to the right teaching of Mechanical Draw- 
ing in our schools. 

Technical schools for years have used textbooks in 
Mechanical Drawing, but they are much too advanced 
and too highly technical for school use. 

The course as outlined by the author consists of 
several groups of theoretical and practical problems 
which have been carefully selected, arranged progress- 
ively, and presented simply and clearly. 

Each problem is accompanied by explicit direc- 
tions. Principles and their practical application have 
been emphasized through the course. 

Isometric drawing, or practical perspective, as it 
is sometimes called, is growing in popular usefulness, 
not only in the drafting room but for illustrations in 
technical papers as well. Its convenience and adapta- 



bility are being recognized. Both the trained drafts- 
man and the shop man who wants to talk "the 
language of the shop" find it useful and practicable. 
The author shows very clearly "how to make iso- 
metric drawings" without going into too many details. 

From the standpoint of good teaching the book is 
excellent. The language is simple and the explana- 
tions and directions clear. 

The pupil is gradually led to rely more and more 
upon the text and less on the teacher and thereby 
self-help is promoted in the pupil. 

The author has brought to his task a large and 
varied experience as a teacher in the rural schools as 
well as several years' successful experience as a teacher 
in the elementary, high, and technical high schools of 
the city. 

R. M. SMITH, 

Supervisor Manual Training, 

High and Technical Schools, 
Chicago, III. 



[4] 



AUTHOR'S INTRODUCTION 



The purpose of the first part of this course is to 
give eighth grade pupils such a thorough drill that 
by the time they complete this grade they will be 
able not only to make practical working drawings, 
but also to read blue prints intelligently. 

Heretofore, the high school course in Mechanical 
Drawing has not given the boy sufficient drill in mak- 
ing and reading drawings until late in the first year. 

Pupils have entered high school with only a 
limited knowledge of working drawing and in order 
to handle their shop-work properly the shop teacher 
has been compelled to devote an undue proportion 
of the shop time to teaching practical drawing. 

Owing to this lack of preparation in the grades, 
the high school drawing teacher has been obliged to 
begin with the most elementary phases of the subject. 
He has been unable to give his pupils sufficient drill 
in making and reading practical drawings until late 
in the freshman year, and during this time the pupils 
have needed this skill to help them in their work in 
the shops. The purpose and scope of this course as 
outlined are as follows: 

1 . Pupils are prepared to begin shop-work in the 
high school without further preliminary shop drawing. 



2. The high school teachers of Mechanical Draw- 
ing may begin at a more advanced stage in their 
drawing course. The student will thereby have cov- 
ered more ground and reached a higher degree of 
proficiency at the end of his course than has been 
possible under former methods. 

3. To the majority of pupils who do not enter high 
school this course will give a degree of proficiency 
that will compensate in large measure for what is 
denied them through lack of high school advantages. 

This book meets admirably the needs of the 
junior high school. It offers a three-year course, 
covering the seventh and eighth grades, and the first 
year of high school. 

This book contains material for a course in prac- 
tical working drawing to begin in the eighth grade, 
shop problems for pupils in the eighth grade, and in the 
first year of high school. It may be used as a text in a 
combination course in drawing and shop in the junior 
high school, or the drawing may be omitted and the 
book used as a text in cabinet making, wood turn- 
ing, first year pattern making, concrete work, and 
stenciling. 

[3] 



CONTENTS 



Things the Pupil Should Know about 

Drawing 7 

What the Pupil Should Know When he 

Leaves the Shop 8 

Instruments and their Uses 10 

Plates: How to Lay Out 15 

Plate 1 — Lettering 16 

Plate 2 — Practice Plate 18 

Plate 3 — Practice Plate 20 

Plate 4 — Practice Plate 22 

Plate 5 — Geometrical Problems 24 

Plate 6 — Geometrical Problems 26 

Plate 7 — Geometrical Problems 28 

Plate 8 — Isometric Drawings 30 

Plate 9 — Working Drawings of Plate 8 . 32 

Plate 10 — Isometric and Cabinet Drawings 36 

Plate 1 1 — Working Drawings of Plate 10. 38 

Plate 12 — Block and Joints 40 

Plate 1 3 — Working Drawings of Plate 12. 42 

Plate 14 — Caned Top Stool 48 

Plate 1 5 — Waste Paper Boxes 56 

Plate 16 — Plant Stands 59 

Plate 17 — Tabourets 62 

Plate 1 8 — Dressing Table Bench 64 

Plate 19 — Gate-leg Serving Table 67 

Plate 20 — Clothes Hamper 70 

Plate 21 — Caned Book Trough 73 

Plate 22 — Cedar Chest 77 

[6] 



PAGE 

Plate 23 — Piano Bench 80 

Plate 24 — Bedside Trees 83 

Plate 25 — Reading Lamps 86 

Plate 26 — Telephone Table 89 

Plate 27 — Telephone-Table Chair 92 

Plate 28 — Umbrella Stand with Mirror . . 94 

Plate 29 — Blue Print Frame 97 

Wood Turning Projects 

Beads, Hollows, and V-grooves 100 

Stepped Cylinder 1 00 

Stocking Darner 100 

Rolling Pin 100 

Potato Masher 100 

Pin Tray 101 

. Holder for Ink Bottle . 101 

Toothpick Holder 101 

Jewel Cup. Card Receiver 101 

Candlestick 102 

Powder Boxes 1 02 

The Gavel 103 

Small Box. Bowl 104 

Wood Pattern Projects 

Chipping Block. Right Hand Crank . 106 

Wall Bracket. Left Hand Crank .. . 106 

Iron "C" Clamp. Bracket 107 

"T" for 1" Gas Pipe. Bearing 107 

Milling Machine Gear Blanks 107 

Webbed Pulley. Hand Wheel 108 



PAGE 

Brass Oil Cup and Core Box 108 

Angle Iron and Core Box 1 08 

Return Bend for I" Pipe 109 

Core Prints and Core Box for Return 

Bend for 1" Pipe 109 

"T" Rest for 10" Lathe 109 

Base of "T" Rest for 10" Lathe 109 

Pillow Block 110 

Core Box for Small Core Prints for 

Pillow Block 110 

Core Box for Large Prints for Pillow 

Block 110 

Brass Candlestick 110 

Advanced Cabinet Projects 

Colonial Library Table 112 

Library Table witli Leather Top .... 113 

Sewing Cabinet 114 

Drawer Construction 115 

Shields. Serving Table 116 

Library Chair , 117 

Desk. Sheraton Telephone Cabinet . 118 

Magazine Rack with Book Trough ... 119 

Chafing Dish Stand 120 

Aquarium and Fernery Combined ... 121 

Chiffonier 1 22 

Caning 1 23 

Stenciling 1 27 

Concrete Work 1 34 



THINGS THE PUPIL SHOULD KNOW ABOUT DRAWINGS 
WHEN HE LEAVES THE EIGHTH GRADE 



1 . How to use and care for the common drawing 

instruments. 

2. How to make a clear, well-appearing working 

drawing. 

3. He should know the difference between tracing 

paper and tracing cloth. 

4. He should know how to make a tracing. 

5. He should know how to make a blue print. 

6. He should be able to read simple drawings 

and blue prints made by others. 

7. He should be able to do good lettering and 

should know its value to a drawing. 

8. He should be familiar with the simple geo- 

metrical problems, such as how to bisect 
a straight line, an angle, how to draw a 
square, pentagon, hexagon, octagon, etc. 



10. 



12. 
13. 

14. 
15. 
16. 
17. 
18. 
19. 
20. 



How to make isometric sketches of simple 
objects. 

He should be prepared to begin with projec- 
tions and be able to draw intelligently. 

He should understand the scale and be able to 
use it. 

That the T square is not a hammer. 

The difference between the 45 and 30-60 
degree triangles. 

How to sharpen his drawing pencils. 

How to clean a drawing. 

How to correct a drawing. 

How to make out stock bills. 

How to fasten his paper to the drawing board. 

How to trim a drawing. 

That drawmg is a language. 



[7] 



WHAT A PUPIL SHOULD KNOW WHEN HE LEAVES THE 

WOOD SHOP 



1 . How to read a rule, not ruler. 

2. How to add and subtract fractions of an inch. 

3. That sandpaper is graded numerically. 

4. That a sandpaper block should always be 

made of soft wood. 

5. That sanding should not be done until all 

tool work is finished. 

6. That worn sandpaper becomes useful later. 

7. To call a bit by name and size. 

8. That a bit is not a "bore. " 

9. That a bit is not a drill. 

10. That the figure 4 on a bit means 4/16", and 

not No. 4. 

1 1. That a bit brace is not an "auger" or "borer." 

1 2. That bits should be filed by the teacher. 

13. That usually the direction should not be 

reversed when drawing out the bit. 

14. That holes are usually measured from center 

to center. 

1 5. That a file should not do the work of the plane, 

spokeshave, or scraper. 

1 6. That a file cuts only one way. 
[8] 



17. That grinding without water destroys the 

temper. 

1 8. That to sharpen does not mean to grind. 

19. That the flat side of the chisel and plane bit 

should never be ground. 

20. That the flat side of a chisel and of a plane bit 

should never be raised when whetting. 

2 1 . That the plane should be laid on its side to 

avoid dulling the blade and cutting the 
bench when not in use. 

22. That the cap iron should be set about 1/16" 

back of the bit. 

23. That it is impossible to do good work with 

dull tools. 

24. That the sharpening of the scraper should be 

done by the teacher. 

25. How a rip-saw differs from a cross-cut saw. 

26. That the number on a saw indicates the num- 

ber of teeth to the inch, and does not indi- 
cate the kind of saw. 

27. That the rip-saw is not always No. 8 and that 

the cross-cut is not always No. 1 0. 



WHAT A PUPIL SHOULD KNOW 



28. That a back-saw should be used for close work. 

29. That but few pencil lines are to be used. 

30. That no time or labor is saved by sawing 

around or from both edges or ends of a 
board. 

31. That it is dangerous to stand near a running 

machme. 

32. That the discipline in a shop should be no 

different from that in any other school- 
room, barring the necessary tool noise. 

33. How to make and read a simple blue print. 

34. How to make working drawings to scale. 

35. How to care for his tools and keep them in 

their places. 

36. That the shop is not the place to eat during 

class time. 

37. That there is more to manual training than 

tool work. 

38. That the shop is not a place to have a good 

time. 



39. That too much glue is worse than no glue. 

40. That the glue-pot should be kept clean. 

41 . That the try-square is a testing tool and should 

not be used as a rule. 

42. He should know the names of the two common 

planes and their parts. 

43. He should know that it is poor practice to 

build furniture without first hand-planing 
the lumber. 

44. He should know how to square a block. 

45. He should know that knife lines are better to 

work to than lead pencil lines. 

46. He should know why water is placed on the 

grindstone, and why oil is put on the 
oilstone. 

47. He should know that he is wasting time and 

effort in going to and from the teacher every 
two or three minutes. 



[9] 



INSTRUMENTS AND THEIR USES 



It is hard to do good work with poor instruments. 

An experienced draftsman or workman may be 
able to accomplish a fair degree of good work with 
poor, ill-kept instruments, but the person beginning 
to draw will find it hard enough to do creditable 
work without being hindered by having to use such 
instruments. Therefore, purchase good instruments, 
and keep them in the best working condition. 

Drawing instruments should be handled with care 
and well wiped with a soft cloth or chamois skin before 
being put away. 

PENCILING 

Drawings should be made in pencil first and after- 
ward inked or traced, as desired. 

The purpose of penciling is to locate all lines, 
making them exactly the length required, etc. 

An accurate drawing is one that has been penciled 
accurately first. The beginner is apt to overlook 
this important fact, and thus becomes careless in 
penciling, thinking, perhaps, that it will be an easy 
matter to correct inaccuracies and add to or change 
the drawing when it is being inked. This is a great 
mistake and should by all means be avoided. 

[ 10] 



The beginner should use a 4H drawing pencil, 
and draw very fine light lines. 

The pencil should be sharpened on both ends, one 
end like the cutting edge of a chisel and the other 
sharp like the point of a needle. 

A softer pencil (3H), sharpened round like the 
point of a needle, should be used in making letters, 
figures, and arrow points, and in sketching. 

COMPASSES 

The compass should be used with one hand and 
held so that the legs are about vertical; thus the 
needle point will make a very small hole in revolving 
and both nibs of the pen will then press equally on 
the paper. 

Lean the compass slightly in the direction of 
revolution and put a slight pressure on the pencil 
or pen end, holding it loosely between the thumb and 
forefinger. 

The lengthening bar is used when it is necessary 
to draw large circles and arcs; then both hands 
are required, one to steady the needle point, the 
other to describe the circle or arc. 

Use the small bow compass for all small work. 



INSTRUMENTS AND THEIR USES 



adjusting the needle point to about the same length 
as that of the pencil or pen end. 

DIVIDERS 

The dividers are used as spacers for measuring 
distances and for laying off measurements from the 
scale or from one drav/ing to another. 

It is impossible to ink neatly over holes in the 
paper; therefore, press very lightly on the dividers 
when they are being used. 

T SQUARE 

The T square should be used with the head against 
the left end of the drawing board. 

If the person is left-handed place the square on 
the right end of the drawing board. 

There are times when it is not practical to use the 
T square in these positions. 

Always use the upper edge of the T square as a 
guide for the pencil or pen. 

Do not draw vertical lines with the T square 
unless it saves time or the lines are long, and then the 
board must be square. 

TRIANGLES 
The 45-degree and the 30-60-degree triangles are 
used for drawing vertical lines, 45-degree lines, 60-de- 
gree lines, and 30-degree lines. 



In drawing these lines the triangle is placed against 
the upper edge of the T square, the edge of the triangle 
being used as a guide for the pencil or pen. 

The head of the T square must be pressed firmly 
against the board with the left hand, and the triangle 
in turn must be held firmly against the upper edge of 
the T square. 

The triangles are also used with each other and 
with the T square as a guide for the pencil in drawing 
parallel lines, lines of 1 5 and 75 degrees, etc. 

SCALES 

Most drawings are made smaller than the fin- 
ished object, otherwise a full size drawing would 
require a piece of paper too large for convenience 
in drawing. 

Measurements are reduced by means of a tool 
called a scale. 

The drawing may be made 1/2, 1/4, 1/8, 1/16, 
etc. in size, depending upon the size required and the 
size of paper to be used. 

A drawing made 1/4 size means that three inches 
on the drawing represents one foot on the object. 

It is necessary to represent inches and fractions 

of an inch. This is done by dividing the three inches 

into twelve equal parts, and each part will represent 

one inch on the object. 

C 11 ] 



PRACTICAL DRAWING 



If each of the twelve parts is subdivided into 2, 4, 
or 8 parts, each part will represent 1/2, 1/4 or 1/8 
of an inch on the object. 

This is usually indicated on the drawing as the 
scale to which it has been drawn, namely, 3 inches 
equal 1 foot, or 1 / 4 size. 

On the scale one inch equals one foot. 

The unit, one inch, is divided into 12 parts to 
represent inches as before. 

Thus, to make the scale of any unit to one foot, 
it is necessary simply to divide that unit into 1 2 parts 
to represent inches, subdividing these parts as far as 
needed to represent fractions of an inch. 

If the smallest division on the scale represents 
1/8 inch on the object, the scale is said to read to 1/8 
of an inch. 

The student will find on his triangular scale ten 
different scales, namely, 3 32, 1/8, 3/16, 1/4, 3, 8, 
1/2, 3/4, 1, 1 1/4, and 3 inches to the foot, reading 
to 2, 1, 1, 1, 1, 1/2, 1/2, 1/4, 1/4, and 1/8 inches 
respectively. 

The double prime (") over a number or fraction 
means inches. Thus, 3" = 3 inches. 

The single prime (') means feet; 3' = 3 feet. 

Never under any circumstances use a scale as a 
ruler to guide the pencil or pen in drawing lines. 



IRREGULAR CURVE 
The irregular curve is a tool to be used as a guide 
for the pencil or pen in penciling or inking curves 
that cannot easily be drawn with the compasses. 

THUMB TACKS 
Thumb tacks are used to fasten the drawing paper 
to the drawing board. 

INKING PEN 

The inking or drawing pen is one of the most 
important drawing instruments and therefore it 
should be of good quality and well kept. 

Place the ink between the nibs with the quill, 
brush, or strip of paper. 

Do not dip the pen in the ink. 

Before beginning to ink, see that there is no ink on 
the outside of the nibs. 

The pen should be held so that both nibs touch 
the paper and are inclined to the right or in the 
direction of the line, with the flat side against the 
triangle or T square. 

Press the pen only lightly against the tool being 
used as a guide for the pen, or the lines will be uneven 
in thickness. 

Draw the lines with the pen from the left to the 
right with reference to the person and not the drawing. 



C 12] 



INSTRUMENTS AND THEIR USE 



Never ink backwards over a line. 

The pen should be cleaned frequently with a strip 
of thin copper covered with a soft cloth, with a tooth- 
pick dipped in clean water, or with a piece of soft 
cloth. 

If the pen is not cleaned often the ink will dry 
between the nibs and thereby prevent the free flow of 
the ink. 

The point of the pen must be kept a little away 
from the triangle or T square to prevent the ink flow- 
ing against, and under, the tool, and thus making a 
blot. 

Clean and dry the pen carefully before putting 
it away. 

TO CORRECT AND CLEAN A 
DRAWING 

Remove all pencil lines with the rubber eraser. 

Remove all ink lines — mistakes in inking, blots, 
and changes — with the ink eraser. 

It requires more rubbing to erase with the ink 
eraser than it does to erase with the pencil eraser. 

Ink lines may be removed with the edge of a sharp 
knife. Do not use the point of the knife, as V-shaped 
holes are made which will always show. 

After erasing an ink line, the surface which has 



been made rough by scratching with the knife should 
be rubbed with some hard, clean, rounded instrument 
before inking other lines over it. 

Brush off all erasings with a soft, clean cloth. 

Dry bread crumbs are often used in cleaning a 
drawing. Rub the crumbs over the drawing with 
the palm of the hand. 

Art gum is generally used in cleaning a drawing. 

Keep the drawing as clean as possible and but 
little dirt will have to be removed. 

While drawing, cover all parts of the paper not 
being used. 

There is a liquid tracing cloth cleaner on the market 
which is excellent for removing pencil marks, dirt, and 
grease spots from tracings. It has no effect on water- 
proof ink and does not injure the surface for inking. 

There is another preparation on the market called 
Inkoff for erasing black waterproof drawing ink lines 
and figures without injury to the tracing cloth. 

TO INK A DRAWING 

It may appear at first thought as though it would 
be an easy matter to ink a drawing. 

The ability to make a good ink line comes to a 
large per cent of students but slowly, and often after 
much hard practice. 

[ 13] 



PRACTICAL DRAWING 



Use good quality black waterproof India ink. 
The drawing should be inked according to the 
following plan, to save the pupil's time and effort: 

1 . Circles and arcs. 

2. Horizontal lines from the top. 

3. Vertical lines from the left. 

4. Oblique lines. 

5. Center lines. 

6. Extension and dimension lines. 

7. Arrowpoints. 

8. Dimension figures and notes. 

9. Hatching. 

10. Border line. 

11. Title. 

If the ink does not take to the tracmg Imen, 
sprinkle a little French chalk on the cloth and brush 
off with a soft, clean cloth. 

Dust collects on linen and on the edges of the tools 
used as guides for the pen. Blow this dust off the 
linen frequently and wipe off the edges of the T square 
and triangles. By so doing you may save yourself 
time and trouble in correcting blots, etc. 



LIST OF DRAWING INSTRUMENTS 
REQUIRED 

1 set German Silver Drawing Instruments. 

1 Drawing Board, 1 6 X 22 inches. Pine. 

1 T-Square, 25 inches. Pear Wood. 

1 Scale, 12 inches. Triangular, Boxwood. 

1 Triangle, 30 degrees X 60 degrees, 8 inches, 
Transparent. 

1 Triangle, 45 degrees, 6 inches. Transparent. 

1 Irregular Curve, Bearwood. 

1 doz. Steel Thumb Tacks, 3/8 inch. 

1 Drawing Pencil, Hyperion, 4H. 

1 Drawing Pencil, Hyperion, 3H. 

I Bottle Black Waterproof India Drawing Ink. 

1 Ink and Pencil Eraser. 

Drawing paper, 1 5 inches X 20 inches. Cream or 
White. 

3 No. 506-F Ball Pointed Pens. 

3 No. 506 EF Ball Pointed Pens. 

6 No. 25 Spencerian Pens. 

1 Emery Pencil Pointer. 

1 Cube of Art Gum. 

1 Tracing Cloth. 

1 Scribbling Pad. 

1 Scribbling Pencil. 



C 14] 



PLATES 



HOW TO LAY OUT 

The plates are to be 9" X 12" inside the border 
lines, with a 1,2" trim line at the top, bottom, and 
right end. 

The left end trim line is 1 1/4" to the left of the 
border line, to allow for binding the plates. 

The finished plate will be 10" X 13 3/4". 

The plate number, pupil's name, and the name of 
the school are to be printed in capital letters between 
two lines 1/8" spaced, at the left of the drawing. 

The line nearest to the left border line is 1/4" to 
the left of the left border line. 

The plate number is to be printed at the top, the 
pupil's name in the middle, and the name of the 
school at the bottom. 

The pencil guide lines for this lettering are not to 
be inked. 

TO FASTEN THE PAPER TO THE 
DRAWING BOARD 
Lay the paper on the board so that the length 
will be with the length of the drawing board and to 
the right and left near the center of the board. 



Place a thumb tack in the upper left corner of the 
paper. 

Lay the T square on the board with its head at 
the left end, slide it up until its upper edge is in line 
with the upper edge of the drawing paper. 

Hold the T square with the left hand and move 
the paper up or down with the right hand until it is 
parallel with the edge of the T square. 

Hold the paper tight — do not let it slip — and 
insert a tack in the lower right-hand corner. 

Now move the hand from the center across the 
paper toward the lower left-hand corner and insert 
another tack. 

In the same manner place a tack in the upper 
right-hand corner. 

Lay out and draw all trim and border lines. 

If the plates are not to be bound, the left trim 
line is to be 1 /2 " to the left of the left border line, thus 
making the marginal space the same. 

In this event the lettering will have to be moved 
1 / 8 " nearer to the left border line. 



[15] 



PLATE 1 -LETTERING 



HOW TO LETTER 

Draftsmen are obliged to letter fairly well, but 
drafting does not, as many claim, depend wholly on 
good lettering. 

All that is required to-day is lettering that is 
intelligible. 

Of course, good lettering adds greatly to the 
appearance of a drawing. 

Lettering should be done free-hand in pencil first 
and then inked. 

Use No. 506-F, or 506-EF, ball-pointed lettering 
pen for the large capital letters. 

Use No. 25 Spencerian pen for the small capital 
letters. 



All the lettering in this course is to be in capital 
letters. 

Do not omit the pencil guide lines. 

For the large capitals space the guide lines 1/8". 

For the small capitals space the guide lines 3/32". 

All letters slant to the right about 15°. 

Do not use a vertical style. 

Lay out the plate according to the directions for 
laying out plates. 

Use care and make your work look well. 

This plate is to be inked. 

Do not ink dimensions and guide lines on which 
the lettering was done. 

Clean the plate, and trim on the trim lines. 



C 16] 



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r^E cf-t/^f^ic^L. C3n/^wir\i(s. 
DO /vor USE At VEnrioAL. stvi-e. 



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PLATE 1 



C 17] 



PLATE 2 ^PRACTICE PLATE 



HOW TO DRAW 

Lay out the plate, following the directions given 
for laying out the plates. 

Lay out the space inside the border lines accord- 
ing to the dimensions given on Plate 2. 

Beginning with the oblong in the upper left-hand 
corner and using the scale, lay off the 1/4" spaces 
from top to bottom. 

Pencil through these points just measured the hori- 
zontal lines, using the upper edge of the T square as a 
guide for the pencil and working toward the bottom. 

The pencil should be well sharpened and held 
about vertical. 

In laying off spaces with the scale, do not move 
the scale unless it cannot be avoided. 

The oblong in the upper right-hand corner is to 
be spaced for horizontal lines 1/8" apart and lines 
drawn as they were drawn in the first space. 

The lines should all be of the same thickness and 
if care is exercised there will be no noticeable differ- 
ence in their spacing. 

The oblong in the lower left-hand corner is to be 
laid out from left to right with the scale. 

The spaces are 1/6" apart. 

The lines are to be drawn vertically by placing the 

C 18] 



triangle against the upper edge of the T square and 
using the left edge of the triangle as a guide for the 
pencil. 

Do not move the drawing board; do not move to 
the right end of the board in drawing this plate. 

See to it that the head of the T square is touching 
the drawing board and that the triangle in turn is 
held securely against the square. 

Do not move the T square, but slip the triangle 
to the right along its edge. 

Draw the lines at the left edge of the triangle as 
it is moved along the T square. 

Pencil the last space on the plate according to 
the note printed in the space. 

The plate number, pupil's name, and the name of 
the school are to be printed after all other drawing 
on the plate has been done. 

The plate is to be inked leaving out all center 
lines, construction lines, and dimensions. 

Clean the plate and trim on the trim lines with a 
sharp knife. 

If the T square is used as a guide or straight edge 
for the knife in trimming, turn it over so that the flat 
side lies on the paper and use its lower edge — which 
is now the upper edge — as a guide for the knife. 



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I'LATIC i 



C 19] 



PLATE 3 -PRACTICE PLATE 



HOW TO DRAW 

The 9x12 inch space on this plate is to be 
divided into four equal oblongs, 4 1/2" X 6", using 
the two lines as center lines in laying out the correct 
shape of the spaces in which the drawings are to be 
done. 

From the two center lines and the border lines, 
lay out the five spaces and pencil their outlines heavier 
than the center lines. 

Begin with the space in the upper left corner and 
pencil the horizontal lines first, then the vertical lines. 

Remember that this is a practice plate and should 
look better than Plate 2. 

The space in the upper right corner is to be 
penciled with lines drawn 30 degrees to the horizontal, 
both to the right and left, spaced 3/8" with the hori- 
zontal lines, beginning at point A and spacing to the 
right and left far enough to catch the last line in 
corners C and D. Thus the line of points will be to 
the right on line AB produced lightly. 

The 30-degree lines are not to be drawn from 
the points, but the points or dots are to be used as 
places on which the triangle is to be placed. 

[20] 



Hold the triangle on the dot and begin to draw 
the line on the outline of the space to be lined. 

Do not pass any line outside the space ABCDE. 

The two lower spaces are to be spaced and lined 
in the same manner except that the spacing is done 
on the lower line, produced, and the lines are 45 
degrees in one and 60 degrees in the other. The 
vertical and horizontal lines pass through the inter- 
section of the 60-degree lines. 

The circle shown is filled in with small circles 
after spacing up and down and to the right and left 
of the center lines, lines spaced 1/2", using their 
points of intersection as centers of the small circles. 

Do not move the scale in laying out these spaces. 

The lines making the centers will have to be ex- 
tended in all directions in order to locate the centers 
of parts of the small circles around the circumference 
of the large circle. 

Print the plate number, pupil's name, and name 
of the school in their proper places. 

Ink the plate, leaving out all construction and 
dimension lines. 

Clean the plate carefully and trim. 










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I^LATE :i 



C 21 ] 



PLATE 4 -PRACTICE PLATE 

HOW TO DRAW 

Lay out the plate with as little aid from anyone 
as possible. 

Locate and draw all center lines, extending them 
far enough in each direction to catch all necessary 
centers. 

Pencil all circles and arcs first. 

Do not change the compass until all circles and 
arcs having the same radii have been drawn. 

Connect the ends of the arcs with straight lines, 
lifting the pencil to show lines passing under. 

Ink the plate, showing nothing but the figure. 

Begin with the circles and arcs, leaving the straight 
lines until last. 

Clean and trim the plate. 



[22] 




PLATE 4: 



[23] 



PLATE 5 



PROBLEM 1 

To bisect a straight line AB, or the arc of 
a circle AFB. 

With A and B as centers and any radius greater 
than 1 /2 AB, draw arcs intersecting in C and D. 

Join CD. CD is perpendicular to /4S, and E and 
F are the middle points required. 

PROBLEM 2 

From a point C outside a straight line /4S, 
to draw a perpendicular to the Une. 

With C as a center and any convenient radius, 
cut AB in the points A and B. 

With A and B as centers and any radius greater 
than 1 /2 AB, draw arcs intersecting in D. 

Join C and D. CD is the perpendicular required. 

PROBLEM 3 

To draw a perpendicular to a Une /4B from 
a point C nearly or quite over its end. 

Draw a line from C to meet AB in any point B. 

Bisect BC in D by problem 1 . 

With D as a center and radius DC, draw the arc 

CAB meeting AB in A. 

Join A and C. /IC is the perpendicular required. 

PROBLEM 4 



To draw a perpendicular to a hne AB from 
a point A at or near its end. 



With A 3lS a. center and any radius, draw the arc 
CD. 

With center D and the same radius, cut CD in C 

With C as a center and the same radius, draw an 
arc over A. 

Draw a line through D and C, producing it to 
meet this arc in E. Join A and E. 

AE is the perpendicular required. 

PROBLEM 5 -Another method 

With center A and any radius, draw an arc CDE. 

With center C and the same radius, cut this arc 
in D. 

With center D and the same radius, draw arc 
EF. 

With center E and the same radius, draw arc 
intersectmg EF m F. Join A and F. 

AF is the perpendicular required. 

PROBLEM 6 
Through a given point C, to draw a line par- 
allel to a given Une AB. 

From C as a center and any radius, draw the arc 
AD. From A as a. center, with the same radius, 
draw the arc BC. 

With BC as a radius and ^4 as a center, draw an 
arc cutting the arc AD in D. 

Join D and C. DC is the line required. 



[24] 



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PLATE 5 



[25] 



PLATE 6 



PROBLEM 7 
To draw a line parallel to a given line AB 
at a given distance CD from it. 

From any two points A and B on the line as 
centers, and with CD as a radius, draw arcs E and F. 

At A and 5 erect perpendiculars to meet the arcs 
in E and F. 

Draw a line through E and F, which is the line 
required. 

PROBLEM 8 
To bisect a given angle BAC. 
With A as a center and any radius, draw the arc 
BC, cutting the sides of the angle in B and C. 

With centers B and C and any radius, draw arcs 
intersecting in D. 

Draw AD, which will bisect the angle. 

PROBLEM 9 
To trisect a right angle CAB. 
With center A and any radius, draw the arc of 
the quadrant cutting the sides in C and B. 

With centers C and B and the same radius, cut 
the arc in points 1 and 2. 
Join A] and A2. 

PROBLEM 10 
To divide a given line AB into any number 



From A, draw an indefinite line A\, 2-6 at any 
angle with AB. 

At B draw 57—12, making the angle AB 12 
equal to the angle BA 6. 

With any distance as a unit, lay off on the lines 
from A and B as many equal spaces as the number of 
parts required, less one. 

Join 1,12 and 2, 1 1 , etc. 

The places where these lines intersect AB are the 
points of division required. 

PROBLEM 1 1 — Another method (say six parts) 

Draw A] — 6 at any angle to AB. 

Lay off on it six equal spaces, using any conven- 
ient unit. 

Join 65 and through the points 1 , 2, 3, 4, 5 draw 
lines parallel to 56, meeting AB in points 7, 8, 9, 
1 0, 1 1 which are the points of division required. 

PROBLEM 12 
On a given side AB, to construct a square. 
Draw BD at right angles to AB and equal to AB 
(Prob. 5). 

With A and D as centers and radius AB, draw 
arcs intersecting in C. 
Join AC and CD. 



of equal parts (say seven). 



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PLATE, a 



C 27] 



PLATE 7 



PROBLEM 13 

On a given base AB, to construct a regular pentagon. 

With centers A and B and radius AB, draw arcs 
intersecting in 1 and 2. 

With center 2 and same radius, draw the arc 
3A5B4, giving points 3 and 4. 

Draw the line 3 5 to C and 4 5 to £. 

With centers C and E and radius AB, draw arcs 
intersecting in D. Draw BCDEA. 

PROBLEM 14 

To construct a regular hexagon on given side AB. 

With A and B as centers and radius AB, draw 
arcs intersecting in 0. 

With as center and radius AB, draw a circle 
and lay off BC, etc., each equal to AB. 

Join the points B, C, D, E, F, and A. 

PROBLEM 15 

On a given base AB, to construct a regular octagon. 

At A and 5 erect perpendiculars (by Prob. 5) 
to AB, and bisect the exterior right angles, making 
the bisectors AC and BD each equal to AB. 

Draw CD, cutting the perpendiculars in E and F. 

Lay off EF from £ to G and from F to H. 

Draw an indefinite line through GH. 

Make GK, GL, HN, and HM each equal to CE 
or FD. Connect C, K, L, M, N, and D. 

[ 28] 



PROBLEM 16 

On a given base ^S, to construct a regular 
polygon of any number of sides (say seven). 

With center A and radius AB, draw a semicircle 
and divide it at points 1 , 2, 3, 4, etc., into as many 
equal parts as there are sides in the required polygon. 

Draw a line from the second point of division 
2 to A. 2 A is one side of the required polygon. 

Bisect AB and A2 by perpendiculars by Prob. 
1 , meeting in D. With D as a center and radius DA 
draw the circle BA2, etc. 

Apply AB as a chord to the circle as many times 
as there are sides in the polygon. 

PROBLEM 17 
To construct a regular octagon within a 
square ABCD. 

Draw the diagonals AC and BD. 

With A, B, C, and D as centers and half of the 
diagonal of the square as a radius, draw the arcs EF, 
GH, KL, and MN. 

Join the points MG, FL, HN, and KE. 

PROBLEM 18 
On a given diagonal AB, to construct a square. 
Bisect /45 in (Prob. 1). 

With center and radius OA, draw a circle to 
cut the bisecting line in C and D. 
Draw AC, CB, BD, and DA. 



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[29] 



PLATE 8 -ISOMETRIC DRAWINGS 



An isometric drawing is one which shows three 
faces of an object, not as they appear, but as they are. 

The vertical lines of the object are drawn vertical 
to a horizontal line. The lines making right angles to 
the vertical lines are drawn at an angle of 30 degrees 
to the horizontal. 

The top of an object is known as the plan or 
top view. The front of an object is known as the 
elevation or front view. The end of the object is 
known as the end or end elevation. 

HOW TO DRAW 
The lines on this plate are vertical and 30 degrees 
to the horizontal. Lines to use: 

1 . Object line. 4. Dimension line. 

2. Hidden object line. 5. Center line. 

3. Border line. 6. Extension Ime. 
Divide the paper into four equal oblongs 4 1/2" 

by 6". 

If your drawing board is square, draw both lines 
by placing the T square at the end, top, or bottom 
of the board as a guide for the pencil. 

The drawing board must be square. 

Draw line A J, Fig. 1, 3/8" above the center 
division line. Measure from the left border line toward 
the right, on AJ, 2 9/16" and place point B. 

Do not pencil a line. 

[30] 



Using the triangle and the T square, pencil an 
object line from B up 1 3/4", lettering the upper 
end of this line C. 

Place the 30-60 degree triangle against the upper 
edge of the T square and pencil lines 30 degrees to 
line A J to the right from B and C, 2 1/2" long. 

These lines are parallel. Letter the ends of the 
lines thus drav/n D and E respectively. 

Connect D and E as you did B and C. 

Draw hnes BF and CG reversing the triangle and 
makmg the lines 1 1 /2 " long. Connect F and G. 

Finish the drawing by penciling lines GH and HE. 

Do not measure these lines, use the 30-60 degree 
triangle and T square. 

Place dimension lines with their dimensions on 
the drawing as shown on Fig. 1 . 

The dimension lines for 30 degrees are drawn with 
the compass, with 5 as a center, breaking the lines 
to receive the figures. 

Complete the plate by drawing Figs. 2, 3, and 4, 
placing all dimensions on each drawing, as in Fig. 
1, and adding all extra dimensions not given. 

Ink all lines except AJ, KL, and MN, leaving 
out their dimensions, namely: 3/8", 2 9/16" and 
3 7/16". Print the names of the faces visible on 
each face parallel with the face. 




I'LATi: S 



[31 ] 



PLATE 9 -WORKING DRAWINGS 



A lOorl^ing drawing is a drawing, or drawings, 
showing three (sometimes more) faces or views of 
an object — the top, front, and end views in their 
relation one to the other, and to the whole. 

Figures 1, 2, 3, and 4, plate 9, are the working 
drawing of Figures 1 , 2, 3, and 4, Plate 8, drawn to 
a smallers scale. 

Compare the two plates. 

The world wants men who can put on paper 
intelligent rough sketches and drawings which can 
be sent into the draftmg room as a source of first 
information, sufficient and accurate, for the makmg of 
working drawings from which blue prints may be made 
and sent into the shops where the work is to be done. 

These crude sketches need not be pleasing to the 
eye, but the correct information must be clearly shown. 
Many times the drawings are isometric penciled 
sketches showing dimensions and notes explaining 
parts, with but little attempt at proportion. 

The dimensions must be clearly indicated. 

A well-planned working drawing, fully dimen- 
sioned, neatly detailed, traced, and blue printed, 
requires time and expense. 

Sometimes these crude sketches are sent direct 
to the shop to be used as working information. There- 

[32] 



fore, the man who is of most value to his employer 
and to himself is the man who can hand in, in pencil, 
the first correct working information from which 
the well-appearing, properly dimensioned, working 
drawing may be made. 

Place the block of wood or cardboard made for 
Plate 8 directly in front of the eye, so that only the 
front of the object is seen; this is the front view. 

Do not move the block, but place yourself at the 
right end of the block, keeping the eye, with reference 
to the block, in the same position as it was when 
lookmg at the front; you now see the end view. 

Now move back into the seat and raise the body 
until the eye is immediately over the center of the 
top of the block; this is the top view. 

These three principles must be kept constantly in 
mind while making a working drawing. 

Train yourself to see these three views without 
having to move either your body or the object. 

HOW TO DRAW 
Lay out the paper as you did for Plate 8. 
The drawings are to be 1 /2 size. 
Fig. 1. Locate and draw line CB, the top line 
of the front view, which is 2" above the center line. 



WORKING DRAWINGS 



It is not necessary to get the line exactly 2 1/2" 
long ; in fact it is a time saver to make the line longer 
than necessary. 

Locate and draw line AB long enough for EF. 

At the point of intersection of lines CB and AB, 
measure from B toward the left on line CB 2 1/2" 
and locate point C in its proper place. 

Likewise, measure from B down 1 3/4" on AB and 
locate point A, the correct distance from B. 

Draw lines parallel and the same length to CB 
and AB respectively, locating D at their intersec- 
tion, and the front view of the block is complete. 

The end and top views are 3/ 4 " to the right and 
above the front view. 

Measure to the right from AB 3 '4" and place a 
dot; through the dot draw line LM. 

Do not measure its length. 

Place the T square on line CB and draw a line 
from L toward the right. 

Repeat this on line AD, drawing from M to the 
right. 

Take the dividers and set the points the proper 
distance apart on the scale for 1 1,2", reduced to 
scale, and set this distance off on LK from L. 

Drop a line down from K to meet line MJ, and 
the end view is finished. 



Proceed with the top view, in the same manner, 
transferring the length of line LK to EF. 

No measuring is to be done except to locate and 
draw the front view, depth, and spaces between the 
views. 

Place all dimensions of the object on the drawing, 
omitting all others as well as their lines. 

The dimension lines should be about 3/8" away 
from the object lines. 

It is necessary at times to place many dimensions 
on the drawing as in Figs. 2, 3, and 4. 
Break the lines to receive the figures. 

Draw Figs. 2, 3, and 4 in the order in which they 
come. 

The hidden parts of the object are represented 
by dotted lines, all of which must be drawn on each 
figure. 

Do not omit the dimensions. 

Tracing is inking on tracing paper or linen which 
is placed over the pencil drawing. 

Place the tracing paper or linen, whichever is to 
be used, over the pencil drawing, dull side up, and 
trace over the pencil work. 

Use black India ink. 

Do not trace any parts except those you would 
ink. From the tracing blue prints are made. 

[33] 



HOW TO MAKE BLUE PRINTS 

Purchase or make a blue print frame. 

Place the tracing in the frame, ink side to the 
glass. 

Place blue print paper on the tracing, chemical 
or green side next to the tracing. 

Place the pad, if it is not glued to the lid, on these. 

Place the lid on next, and fasten securely. 

Expose to the sunlight as per the directions on 
the blue print paper. 

If the sun is very bright, about one minute is 
sufficient. 

Take the print out and wash it through several 
changes of clear cold water. Do not use hot water. 

Hang it up to dry. 

When dry trim the print and it is ready for use. 

Carefully lay the tracing away. Do not get it 
wet or soiled and it will last until worn out from use. 

Line CB is the same as line HE, EF is the same 
as LK, etc. Why? 



L34] 



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[35] 



PLATE 10-ISOMETRIC AND CABINET DRAWINGS 



This plate shows the two positions of an iso- 
metric drawing, Figs. 1 and 2, and the difference 
between isometric and cabinet drawings. 

DEFINITION 

A cabinet drawing is one showing three views 
of the object not as they appear but as they are. 

One face of the drawing is the same as it would 
be in a working drawing, or as nearly so as possible. 

The lines forming right angles with the vertical 
lines in the object are drawn at 45 degrees to the 
horizontal instead of 30 degrees as in the isometric, 
measuring 1/2 the depth only, for their length. 

HOW TO DRAW 
Lay out the plate as you did Plates 8 and 9. 
Locate point A, Fig. 1, which is on the line 7/16" 

above the center line and 3 5/16" to the left of the 

vertical center line. 

Fig. 2 is placed in the opposite direction to the 



drawing in Fig. 1, and is easily drawn after locating 
the beginning point A. 

The dimensions not appearing on the drawing 
are the same as similar dimensions in Fig. 1 . 

Note that in Figs. 1, 2, and 4 all hidden lines of 
the object are shown as dash and space lines. 

These lines must be drawn. 

Figs. 3 and 4 are cabinet drawings, and should 
be located in the space in which they are to be drawn 
so that they will appear well, beginning with the 
front view. 

Remember that the 3 " distance back, or the depth, 
is to be 1 1/2", which is 1/2 the actual depth, but 
the dimension 3" is to appear on the face, the lines 
being 45° to the horizontal. 

Ink the plate, leaving out all construction lines. 

Dimensions belonging to the object must be 
inked, all others omitted. 

Trace and blue print. 



[36] 






PLATE 10 



[37] 



PLATE 1 1 - WORKING DRAWINGS 

HOW TO DRAW 

The drawings on this plate are to be made 1/2 
size or on the scale of 1/2" equals 1 ". 

SUGGESTED QUESTIONS FOR DISCUSSION 

1 . What is a working drawing? 

2. Why is it necessary to show three views of an 
object? 

3. Can you picture in your mind these objects 
by looking at two views? Why? 

4. What is meant by drawing to scale? 

5. In Fig. 1, 3 1/2" is the length. If you measure 
this length it is less. Why? 

6. Which is the top view? the front view? the 
end view? Could the top view be the front, or the 
end view the top? Why? 

7. Are lines AB and CD the same? Why? 

8. Figs. 3 and 4 show hidden parts. Why are 
there none shown in Figs. 1 and 2 ? 

9. How would you build the articles, using wood? 
Work out the drawings on the plate. 

The plate should look well in every detail. 
Do not ink reference letters. 
Trace and blue print. 



[38] 





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PLATE 11 



[39] 



PLATE 12 -BLOCK AND JOINTS 



HOW TO DRAW 

The drawings on this plate represent practical 
articles to be built in the shop. 

They have been carefully selected and drawn, 
both for the drawing and as exercises for the wood 
shop. 

The ends of visible pieces in the joints have been 
hatched or lines drawn free-hand to represent the 
annual rings, and checks in the wood, thus giving 
the drawings somewhat the appearance of a picture. 

Pencil and ink the plate, following previous 
instructions. 

See to it that the plate looks well — even better 
than the other plates drawn. 

Print the name of each object in the upper left- 
hand corner of the space in which it is drawn. 

Show all necessary dimensions on each drawing. 

The dimensions not shown are the same as those 
on similar parts of the other problems on the plate. 

Trace and blue print. 




BLOCK AND JOINTS 



[40] 



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PLATE 12 



[41 ] 



PLATE 13 -WORKING DRAWINGS 



HOW TO DRAW 

These drawings are shop or working drawings 
of the projects on Plate 12. 

Note that they are placed on different parts of 
the plate. 

Block in the lower right corner. 

Half lap joint in the upper left corner. 

Dovetail joint in the upper right corner. 

Mortise and tenon joint in the lower left corner. 

The end view of each joint shows a sectional 
view through the object on line AB. 

Each piece is hatched, showing its position in 
the joint. 

Hatching consists of 45-degree lines spaced 1/16" 
apart. 

Each piece is hatched in the opposite direction. 

The pupil should find but little trouble, if any, 
in figuring out where to place each view of the 
object. 

The drawings are to be made 1/2 size. 

State this another way. What does it mean? 

The plate is to be traced carefully after complet- 
ing all the pencil work. 

Ink all dimensions, hatching, and line AB. 

[42] 



The name of each object is to be printed in the 
upper right corner. 

Clean the tracmg and trim. 

The tracing is to be used in making the blue print, 
which is to be sent into the shop as a working drawing 
from which the objects are to be built. 

HOW TO BUILD 

Make the block first. 

Stocl^. Select a clear piece of pine or poplar, 
2" x4" x5 1/2". 

"Clear" means free from knots, checks, etc. 

Plane one face straight, using the try-square with 
which to test the surface. Mark this planed surface 
X. 

Square one edge to the surface or face X, and 
mark it XX. 

Square one end to face X and edge XX. 

Now measure the length and cut a line around 
the block with a sharp knife, the first line to pass 
through the point indicating the 5" length. 

The lines must meet on all the long edges. 

Do not use a lead pencil. 

Plane this end down to the knife lines just drawn. 



WORKING DRAWINGS 



If there is more than 1/8" of stock, saw it off 
with the back saw to within about 1/16" of the knife 
lines, and then plane down to the lines. 

Test the end with the square. 

Do not stop work on the end until it is square. 

Now measure and lay off the width, using the 
marking gauge, and gauging from face XX, passing 
the line around the block with the grain of the wood. 

Plane off this extra material and test for square- 
ness. 

Be careful not to plane below the gauge line. 

Measure the thickness and gauge a line around 
the block with the grain, gauging from face X. 

Plane the stock off down to the gauge line, keeping 
the face square with the other faces of the block. 

Hand your work to the teacher for his O.K. before 
taking up the different steps in squaring the block. 

The 1/4" chamfers around the top and end edges 
are to be laid out with a sharp lead pencil. 

The pencil lines will be on the top surface as 
well as on the sides and ends. 

Do not use the marking gauge m laymg out a 
chamfer. 

The gauge will cut into the wood and after the 
stock has been planed off the lines will be visible 
unless you plane more than 1/4" away. 



Sandpaper is not to be used. 
There are several methods of squaring the ends 
of a piece of wood. 

1 . Chamfer the back edge. 

2. Place a block behind the work. 

3. Plane toward the center of the end from each 
side. 

The last method is perhaps the best, although 
one will find the other two methods in everyday use 
in a large percentage of the school shops. 

HALF LAP JOINT 

Stoc\. 1 piece white pine or poplar 1 1/4" X 
2 1/4" X 10 1/2". 

Measure and square the block to thickness and 
width. 

The ends are to be squared. 

Do not measure off any length. 

Do not saw the block in two pieces. 

In planing the ends, do not get the length less 
than 10 1/4". 

Pencil a center line around the center of the length 
of the block, using the square as a guide for the 
pencil. 

Now measure from each squared end toward the 
center of the block 5" and make a knife cut. 



[43] 



PRACTICAL DRAWING 



Through these knife cuts, cut lines with a sharp 
knife, cutting across and around the block, using the 
try-square as a guide for the knife. 

Hold the try-square straight in order to have the 
knife cuts true. 

Do not use a lead pencil. 

Saw the block in two pieces with the back saw, 
sawing on the lead pencil center line. 

Hold the saw securely with one hand and do not 
press down hard or the lower edges of the block will 
split off as the saw passes through. 

Plane the two sawed ends to the knife lines. 

Test with the square. 

The two blocks should be square and the joint 
laid out as follows: 

Place a knife cut on the center of one long edge 
of block C, and on the center of one of the width 
edges of block D. Do not use a pencil. 

Place C and D so that the two knife cuts meet 
and the edge face on C and the end face on D are even 
and lie in the same plane. 

Hold the blocks tightly in this position and make 

knife cuts into C where the lower edges of D rest on C. 

Take block D off and cut lines through these cuts 

on block C, cutting across the grain the full width 

of the face, across the edge 1 /2 the thickness only. 

[44] 



Turn the block around and cut from the other 
ends of the lines 1/2 the thickness of the other edge. 

Connect these lines on both edges with lines drawn 
with the marking gauge. 

Using the back saw, saw 1/16" away toward the 
center from the face lines on block C, down to, but 
not beyond, the gauge lines on the edges. 

Saw several times between the two saw kerfs. 

Now chisel this material out to the gauge lines 
from both sides and back to the knife lines. 

Do not cut below or back of the lines. 

Sandpaper and wood files are not to be used. 

Have the chisels sharp and do the work well. 

Be sure you are right and then go ahead; if you 
are in doubt, consult your teacher. 

The other piece, D, is to be halved out to fit 
snugly in C on an open tenon. 

Lay out the tenon in the same manner, D fitting 
into C 1/2 its thickness. 

Fit the pieces together, getting the edge and end 
even. 

Turn the blocks over and place a knife cut on D 
where the lower edge of C rests on D. 

Cut a knife line through this cut and half way 
down each edge. 

From the end of one of the lines on the edge. 



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[45] 



PRACTICAL DRAWING 



gauge a line toward the near end, across the end, 
and down the other edge to meet the end of the 
edge line. 

Now take the back saw and saw down with the 
grain to the lines cut on the edges of D. 

Saw across the face of D to within 1 / 1 6 " of the line. 

Chisel the extra stock out with a sharp chisel. 

Fit the blocks together and plane top edge and 
the two faces smooth. 

Hold the pieces together in the vise. 

Do not use a file or sandpaper. 

HALF LAP DOVETAIL JOINT 

The stock is the same as was used in making the 
half lap joint. 

Measure and square the block as you did for the 
half lap joint. 

Saw in two pieces, and square the ends. 
The tenon on D is to be made first and it is laid 
out, and stock worked out, the same as though you 
were making a half lap joint. 

Cut the line representing the shoulder of the 
tenon E, end view, across both edges on D. 

Measure back on the opposite face of D, 5/16" 
from each edge, and place a cut with the knife at 
F and G. 

[46] 



From F and G lines are to be cut to the corners 
or edges H and K on D. 

Saw these 5/16" lines, allowing for chiseling, and 
chisel from H and K toward F and G. 

Cut the shoulders to the knife lines on both sides. 

This joint is a little harder to make than the half 
lap, but if the tenon is carefully laid out and the 
stock pared out with a sharp chisel there is no reason 
why it should not be correct. 

The open mortise on C is laid out by placing the 
tenon of D on C, getting the centers of each piece 
even, and cutting light lines HF and KG on C, holding 
the two pieces tightly together so they will not slip. 

The lines may be drawn by using the T bevel. 

Work out the mortise in C to the depth of the 
tenon on D. 

Finish with the plane as was done in finishing 
the half lap joint. 

Do not use a file or sandpaper. 

SLIP MORTISE AND TENON JOINT 
After squaring up the block, which is the same 

as was used in making the other joints, make the 

tenon first. 

Cut a knife line 2" down around D and across the 

grain. 



WORKING DRAWINGS 



Take the marking gauge and gauge a line 1/4", 
gauging from the line just cut, on the edge of D up 
and across the end and down the other edge to meet 
the first line. 

Gauge from both faces or, if the block is a little 
off, gauge from one face, setting the gauge 3/4" for 
the second line. 

After sawing, cut out the 1/4" pieces with the 
chisel. 

Lay out the mortise on both edges of C with the 
gauge and knife, having one-half on either side of 
the center line. 

The stock is to be cut out with a 1 /4 " bit boring 
from both edges. 

Trim the sides and ends of the open mortise with 
the chisel, working from both edges toward the 
center. 



Care should be taken, when placing the work in 
the vise, not to screw the jaws of the vise too tightly, 
or they will cut into the wood and thus give a bad 
appearance to the finished work. 

Smooth off the finished joint with the plane. 

The tenon should fit snugly but not too tightly, 
and it should be pushed into place with the hand. 

Do not use a file or sandpaper. 

Find out some of the uses made of these joints. 

Discuss the good and bad features for each use 
suggested. 

Discuss methods of fastening joints together, 
etc. 

There is really more than one joint in the articles: 
for instance, in the half lap there are eight joints; 
find them. 



[47] 



PLATE 14 -CANED TOP STOOL 



HOW TO DRAW 

There is a vast amount of training obtained by 
laying out a plate, figuring from the dimensions of 
the object where the different views are to be placed 
with reference to the border lines, space between the 
views, etc. 

But many times it is not practical and it is a 
waste of time to draw the border line first. 

It is practical and in everyday use to make draw- 
ings giving one view the proper space from the other, 
and drawing the border lines after the drawings have 
been completed. 

This method may add a little to the cost of ma- 
terial, but time is of more value than the added cost 
of paper. 

Place the drawings so that they will appear well 
on the paper, beginning with the front view, next the 
end view, and then the top view. 

It is not always practical to begin with the front 
view. Sometimes the draftsman finds it necessary 
to draw two or more views at once. 

The pupil must learn by practice when he should 
not begin with the front view. 

Note that each view shows the outside as well 
as the inside construction, which is practical, 

[48] 




BOY'S WORK 

economical, and does away with extra sketches to show 
details. 

In some drawings, however, it is necessary to 
make extra detail drawings. 

The legs are square with small 1/8" V-groove 
chisel exercises. 

Scale 1/4 size. Print the scale on the drawing. 

The new feature in the drawing is that the cwo 
parts of each view show outside as well as inside 
finish or construction, hatching, etc. 

Drawings showing parts such as caning, screws, 
nails, etc., whose dimensions would be too small to 
draw on reduced drawings to scale, are merely drawn 
to show their position with reference to the finished 
work, giving but little attention to actual size. 



CANED TOP STOOL 



The pupil should train himself, however, to know 
something of the actual sizes of these details, and 
should be able to estimate approximately their pro- 
portional sizes when drawing them on the plate. 

Pieces that are cut to show sections are usually 
hatched as shown at X on the front and end views. 

The uncovered ends of the legs in the top view 
are also hatched. 

This plate and all the plates that follow require 
a stock bill. 

No working drawing is really complete without 
some sort of a stock bill worked out. 

It is necessary because it saves the workman's 
time, prevents mistakes, and reduces the cost by 
avoidmg waste. 

A stock bill should include all materials nec- 
essary for the finished product, allowing in each 
item for waste in working to size, etc. 

STOCK BILL FOR PLATE 14 

4 pieces K.D. White Oak, 1 3/4" X 1 3/4" X 
8 1/2" for legs. 

2 pieces 1 " X 2 1/4" X 10 1/2" K.D., Q.S., W.O., 
S2S for the side rails. 

2 pieces 1 " X 2 1/4" X 6 1/2" K.D., Q.S., W.O., 
S2S, for end rails. 



2 pieces 1 " X 2 1/2" X 5 1/2" K.D., Q.S.. W.O., 
S2S, for end of top frame. 

2 pieces 1 " X 2 1/4" X 12 1/2" K.D., Q.S., W.O., 
S2S, for sides of top frame. 

1 piece 1/4" X 1/4" X 50" W.O., for strips 
around stool. 

9 Strands Fine Fine Cane Peel for caning top of 
stool. 

8 No. 12 Flat-head Wood Screws 1 1/2" long, to 
fasten top to frame of stool. 

Stain, Filler, Shellac, Varnish. 

The plate is to be traced and blue printed. 

The stock bill should be printed on the plate if 
there is room, otherwise a separate sheet will be 
necessary. 

Print the scale at the end of the stock bill. 

HOW TO BUILD 

Work the four legs down with the plane to 1 1/2" 
square. 

Lay off the 8" length with the knife and square 
both ends. 

Locate the upper line of the V-grooves and lay 
the grooves out with a sharp knife, on the four legs. 

Do not use a pencil. 

The knife line will give the chisel a hold or place 

[49] 



PRACTICAL DRAWING 



to begin the cut. It would be hard to hold the chisel 
straight on a pencil line. 

Take the back saw and saw a kerf straight across 
the face of the leg and down toward the center of the 
post on the center line not more than 1/16" on the 
four faces of each leg. 

Now take a sharp chisel commencing near the saw 
kerf and work back to the knife line. 

Do all the chiseling from one side on each face of 
each leg, reverse the ends and work the other side of 
the grooves. Do not use a hammer or mallet. 

If this work is done carefully with a sharp chisel, 
no marks need be left on the work. 

Do the work so well with the chisel that there is 
nothing left for the file or sandpaper to do. 

The depth of the grooves should be 1/2 the dis- 
tance across on a 45-degree slant. 

Take the marking gauge and gauge a line 1/4" 
from each face on the bottom of the legs. 

Draw pencil lines from the ends of a pencil line, 
about 1/2" below the V-grooves, to the ends of the 
gauge lines which you made on the bottom of the legs. 

You have now laid out the taper for each leg. 
Now plane the taper on each leg. 

Take the two pieces provided for the end rails and 
work them to thickness and width but not length. 



Do not take time to square the ends. 

Now take these two end rails and place them 
together so that the 7/8" edges are up and even. 

Have the ends about even. 

Take your knife, which must be sharp, and the 
try-square. 

Measure about 3/4" on the upper edge and from 
one end. 

Place the square on this 3/4" dot and cut a neat 
straight line across both edges. Do not use a pencil. 

Measure from this knife line toward the other end 
of the pieces 4 1/2", and cut another line across the 
two pieces. 

Now from the ends of the two lines just cut, lines 
should be cut and continue around the blocks or 
pieces. Be sure that the lines meet in every case. 

Do not bear hard on the knife; press lightly and 
cut more than once in the same place, if necessary. 

Next lay out the width of the tenon. 

A tenon is the projecting part of a piece of wood 
left after paring away a portion, which is to be inserted 
into another piece. 

Gauge a line 1/4" on each end of each piece, gaug- 
ing with the wide face. 

Set the gauge to 5/8", and gauge another line 
parallel to each of the lines just gauged, starting from 



[50] 




I'LATli H— CANED TOP STOOL 



[ 51 ] 



PRACTICAL DRAWING 



the same face in each case. This will keep the lines par- 
allel in case the pieces have not been properly squared. 

Take the back saw and saw down and in from the 
faces, allowing a little less than 1/16" for chiseling 
across the grain. 

Allow nothing to be chiseled with the grain. 

Do not use a file or sandpaper in working out the 
tenons. 

Smooth the shoulder of the tenons, or the part 
where you sawed across the grain, with a sharp chisel. 

Sandpaper or a file is not to be used. 

After selecting the edge of each piece that you 
expect to have at the top, saw out about 1 /4 " on each 
end of the upper edges of the tenons and smooth 
square with the shoulders of each tenon. This will 
prevent having holes in the tops of the legs, thereby 
weakening them. 

These two end pieces are now ready to frame or 
mortise into the posts. 

A mortise is a hole or cavity cut into a piece of 
wood to receive a tenon. 

LAYING OUT THE MORTISE 
Mark out with the marking gauge lines 1/4" and 
5/8" respectively from one face of each leg, beginning 
at the top end and the same length, 2". 

C 52 ] 



Connect the lower ends with a knife line, using the 
square as a guide for the knife. 

Connect the lines at the top 1 /4 " below the top of 
the posts. 

Be careful to mark the lines so that by laying the 
two legs together the mortises that you have laid out 
will coincide. 

Take a No. 4 bit and bore out the wood inside the 
four lines about 3/4 " or 1 " deep. 

Smooth the ends and sides of the mortise with a 
sharp chisel. 

Fit the tenon into the mortise. 

The tenon should not fit too tightly, neither should 
it be loosely fitted into the leg. 

Work out the mortise in the other leg and fit the 
two legs on the tenons. 

Place a hand screw on the work and see whether 
or not the shoulders fit snugly against each leg. If 
they do, put glue on the tenons and in the mortises, 
clamp up and set aside until the next day. 

Be careful not to use too much glue. 

Work the other end piece and the two legs in tlie 
same manner. 

The next day after gluing up the ends, take the 
hand screws off and plane up the outside faces of each, 
being careful how they are handled for fear the glued 



CANED TOP STOOL 



joints will be broken loose or the pieces bruised from 
the vise. 

The outside face of the rail and the corresponding 
faces of the posts must be even and form parts of 
the same plane or surface. 

Next lay out and make the tenons on the side rails. 

Lay out the mortises on the posts, being careful to 
get them on the correct sides. 

Handle the work with care or the glued joints will 
work loose. 

Fit the side rails into place and clamp the parts of 
the stool together. 

If they fit well and all corners are right angles, take 
the clamps off and clean the pieces with the plane, 
scraper, and sandpaper. 

The frame is now ready to be glued. 

Remember that too much glue is worse than no 
glue. 

Glue and clamp the frame together, leaving the 
clamps on over night. 

Lay out and make the frame for the top, which is 
built in every respect as you built the framework of 
the stool. 

Glue the frame up and place a handscrew on each 
end. 

Place the frame and handscrews on the stool and 



clamp to the stool. This will keep the frame straight 
while the glue is setting. 

Leave the work in the clamps over night. 

Take the clamps off the work and plane the bottom 
side of the frame smooth. 

Locate and bore the screw holes in the rails. 

Use a No. 8 bit and bore in far enough to let the 
head of the screw into the rail so the other end will 
project through about 1/2", finishing the hole with 
a No. 4 bit. 

Remember the large hole is bored first, that it does 
not go through the rail, and that it is on the under side. 

These holes could be bored before assembling, but 
the legs are short and will permit the brace to be 
turned without using a ratchet. 

Soap placed on wood screws enables one to drive 
them with ease. 

Soap your screws and fasten the top to the base. 

If the top does not fit as it should, take it off and 
plane the high places off so that it will. 

Do not use a file. 

You may plane up the top and round off its corners 
and edges while it is fastened on the stool, or you may 
take it off and do the planing. 

If you smooth it off while fastened to the stool, 
you run less risk of breaking its glued joints. 



C 53] 



PRACTICAL DRAWING 



Saw the long 1/4" strip the correct lengths to fit 
the ends and sides. 

The corners are to be mitered. 

Glue and nail them on with small wire brads. 

Measure back 3/8" from the inside edges of the 
top frame and gauge a pencil line parallel to the inside 
edges, thus making a line for the centers of the cane 
holes. 

Drill the holes with a 3/ 1 6 " drill or bit spaced 1 /2 ". 

If the line of centers is exactly a certam number of 
1 /2 inches long, there is no trouble in spacing the holes. 

There must be a hole in each corner where the 
lines intersect. 

If the lines of centers do not measure an exact 
number of 1/2 inches on a side, the second hole at 
each end must be 1 /2 the excess and the other holes 
will then space equally 1/2". 

Mark out the two sides and the two ends for the 
holes in the same manner. 

The holes must be opposite and the same number 
on opposite parallel sides, but there need not be the 
same number on all four sides. 

Sandpaper and scrape the stool, leaving the top 
frame on. 

Sponge the work with water, and sand it down 
after it dries. 



The water raises the grain of the wood and there- 
fore it is necessary to treat the wood in this way 
before a water stain is used. 

If the work is not finished carefully all bruises, 
plane marks, scratches, etc. will show dark after the 
wood is stained and filled. 

The stool is now ready to be filled. 

Use a filler stained the same color as that chosen 
for the stool. 

Put sufficient filler on to cover the wood, brushing 
it across the grain. 

When the filler begins to dry, rub it off with fine 
shavings or a soft cloth, rubbing across the grain. 

Clean out all corners and V-grooves with a sharp, 
pointed, soft wood stick. 

Set the stool away until the next day to allow the 
filler to set or dry. 

Sandpaper the stool to even up the filler and to 
work out any scratches or blemishes you may notice. 

If by sandpapering you have lightened the color, 
stain the work with stain the same color as the filler, 
wiping it off as it is brushed on with a soft cloth or a 
bit of waste. 

Now give the stool an even coat of thin white 
shellac and set away over night to allow the shellac 
to set. 



[54] 



CANED TOP STOOL 



Rub the stool with a piece of fine sandpaper, using 
a little oil on the paper. 

Do not use a block. 

The stool is now ready to be caned. 

Take the frame off the stool and do the caning 
according to the instructions on caning, page 1 23. 

After the top has been caned, fasten the frame 
back on the stool. 

Do not use glue. 

Give the stool and caning a thin coat of white 
shellac. 



The next day rub with very fine sandpaper and 
oil. 

Now give the stool a coat of quick-drying varnish. 

Remember the caning must be varnished too, on 
both sides. 

This is to be sanded after drying 24 hours, and a 
second, heavier coat of varnish applied. 

The stool should look well and not cost more than 
25 or 30 cents. 




BOY'S WORK 



[55] 



PLATE 15 -WASTE PAPER BOXES 



HOW TO DRAW 

No. 1 . Lay the plate out for two drawings, divid- 
ing the 9" X 12" space into two spaces 6" X 9", the 
long way of the division line to be in the direction 
of the nine-inch length. 

Scale 1 /4 size. 

The front view shows the side construction and 
method of fastening the bottom into the side panels. 

The top view does not show a section. Why? 

Why is there no end view? 

Locate the center line and work to the right and 
left of it. 

The design in the sides of the box and the shape of 
the top and bottom have been left for the pupil to 
work out. 

No. 2. Begin to draw from a center line as in 
No. 1 . Scale 1 /4 size. 

Why is it necessary to show a section of the top 
view as well as of the front view? 

The pupil should have no trouble in drawing this 
plate. 

Make out a stock bill for each drawing. 

A and B No. 2 are metal caster rings. 

Trace and blue print. 

[56] 



HOW TO BUILD 

No. 1 . Get out the four posts 1 " square and 
15 1/2" long, well finished. 

Plane the four sides, lay out the shape at the top 
and bottom, mark out the designs for the holes at 
the top, and saw out on the band and turning saws. 

Saw a 1/4" X 1/4" dado 3/4" above the lower 
ends of each side, and chisel out to receive the bottom. 

The sides are doweled to the posts with four 1 /4 " 
dowels. 

Dowel one side to two posts. 

Fit and dowel the other two posts to one side. 

Set the two glued sides away to dry over night. 

Fasten the remaining two sides to the two pieces 
already glued, and fit the bottom in place, notching 
it to fit the corners of posts. 

If the parts fit, take them apart and glue them. 

The bottom must not be too tight. 

Care should be taken in clamping, or the box will 
twist. 

Take the clamps off the next day and clean your 
work with the plane, scraper, and sandpaper. 

Handle the box with care or the joints will come 
loose. 



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I'LATE 15— WASTE rAl'EIi BOXES 



[ 57] 



PRACTICAL DRAWING 



If built of oak, finish in every detail as per direc- 
tions for Plate 1 4. 

If built of soft wood, stain, shellac, and varnish. 

No. 2. Get out the four posts and work to size, 
1"x 1" X 15 1/2". 

The sides are plain and doweled to the posts as in 
No. 1. 

The bottom is set into the sides 1/4" and 1/2" 
above the lower ends. 

A 1/2" X 1/2" soft wood strip should be glued 
around the inside at the top ends of the sides before 
gluing to the posts. Why? 

After working the side pieces down to size, 
9" X 13 1/2", sawing the dado for the bottom, and 
gluing the strip to the top, dowel and glue up the 
same as was done in No. 1 . 



The 1/2" X 1/2" strip around the outside at 
the bottom is mitered at the corners, and rounded 
slightly on both outside edges and the corners. 

Glue the strip on and nail with small wire brads. 

The 1/2" X 1 1/2" pieces for the frame on the 
top are also mitered, glued, and nailed to the top of 
sides and posts. Be sure to have the top of the box 
squared up properly before fastening on the frame. 

Round off the outside edges and corners. 

Clean the box with the plane, scraper, and sand- 
paper. 

If hard wood is used, stain, fill, shellac, and varnish. 

If soft stock is used, stain, shellac, and varnish. 

Fit the bottom of posts with caster rings. 



r 58] 



PLATE 16 -PLANT STANDS 



HOW TO DRAW 

Scale 1/8 size. 

Divide the paper the same as you did for Plate 15. 

Locate a center line and work to the right and left 
of it. 

The pupil should be able to complete both draw- 
ings with but little aid from the teacher. 

The stock bill must be made out for both articles. 

The caning for the articles should be 12" wide, 
unless it is to be hand woven. 

Dimensions on both objects are about the same. 

Trace and blue print. 

HOW TO BUILD 

No. 1 . Work out the posts to size and length. 

Lay out the V-grooves and chisel out as per direc- 
tions for caned top stool. 

Taper the posts to 1 " at the bottom from a point 
2" below the V-grooves. 

Get out the four top and the four bottom rails, 
allowing for 3 4" tenons, and carefully work them to 
thickness and width. Do not square the ends. 

Lay out the tenons on the top and bottom rails 
with a sharp knife, each set clamped together. 

The lines must be cut around all the pieces and 
on both ends. 




BOYS' AND TEACHER'S WORK 

Work out the tenons to size. 

Cut out 1 / 4 " of the tenons on both ends of the 

[59] 



PRACTICAL DRAWING 



upper edges of the top rails as was done in working 
out the tenons for the stool. 

Lay out the mortises in the posts, fit the tenons 
into place, and glue up. 

Be sure^that the work is square. 

Make four frames out of 7/8" soft wood to fit the 
6 1 /2 " X 11" opening on each side. 

The frames are to be 1 " wide with a 1 /4 " X 1 /4 " 
rabbet cut out of the outside edge. 

The rails and posts form one side, thus making the 
rabbet a groove which is to receive the caning. 

The frames may be mitered, tenoned, or put to- 
gether on half-lap joints. 

They should fit tight in the opening. 

Stain, glue, and nail the frames in place. 

The front faces of the frames are to be even with 
the outside faces of the posts. 

Get out and fasten in the strips inside at the 
bottom. 

The bottom could be made 15" X 15", notching 
the corners to fit the posts, and fastening to the lower 
rails with screws. 

Smooth the projecting edges with the plane. 

The 1/2" strips would then cover the edges, thus 
making the work stronger and saving time and 
material. 



Get out the 1 /2 " X 2 " strip for the top, miter the 
corners, and fasten on with glue and wire brads. 

Set the nails in with a nail set and fill the holes 
with the same kind of wood and glue. 

Clean the work with the plane, scraper, and sand- 
paper. Fill and sand down after filler has set. 

If the color has been changed, stain and give the 
work a coat of thin white shellac. 

The caning is to be done next. (See page 123.) 

When the caning is finished sand the work down 
a little and apply another coat of shellac. 

Give the work two coats of varnish. 

Fit the posts with small casters and caster rings to 
match. 

No. 2. Stock: Soft wood with 
white enamel finish. 

Same construction as No. 1 , ex- 
cept rails and posts must be rab- 
beted on inside to receive the glass 
panels. 

The back of the glass is to be 
painted the desired color and a 
1/4" piece of wood fitted against 
it to protect the inside. If caning 
or glass is not desired, fit into the 
opening narrow slats. 




BOY'S WORK 



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PLATE Id— PLAXT STAXDS 



[61 ] 



PLATE 17 -TABOURETS 



HOW TO DRAW 

Scale 1 /8 size. 

The drawing on this plate is 
similar to that on Plate 16. 

The two added features are the 
solid tops and the ornament on the 
bottom rail of No. 1 . 

No. 2 has three 1/2" strips, two 
around the bottom rail and one 
around the lower edge of the top rail 

The top projects 1/2". 

Aside from this, the drawing is the same as No 

Print the names and work out stock bills 

Trace and blue print. 




BOY'S WORK 



. 1. 



HOW TO BUILD 

No. 1. Get out the four legs to size, chisel the 
V-grooves, taper to 1 " at the bottom. 

Get out the top and bottom rails, allowing 3/4" 
for tenons. 

Lay out and make the tenons on the rails. 

Mark the posts for the mortises, work out, and 
fit the tenons into place. 

Glue the two sides first, allow the glue to set. 

[62] 



Fit and glue the other rails into place. 

Be sure that you get the work square and that it 
does not become twisted. 

Make, stain, and fit the cane frames into place. 

Fasten these frames with glue and nails. 

Fasten the 1 " X 1 " soft wood strips around the 
inside at the top, through which screws should be 
driven to hold the top down against the rails and 
posts. 

These strips should be about 1/8" below the upper 
edge of the top rail. Why? 

Round the top off as shown. 

The ornaments fastened to the under side of the 
lower rails are built out of two pieces. 

The upper piece A is screwed to the rail, the round 
turned end is doweled to piece A. These may be 
left off if the builder does not care to use them. 

Clean the work,, fill, sand down after drying, and 
shellac. 

Finish with varnish arid rub the top down. 

No. 2. Stock: Soft wood. 

Proceed in every detail as you did with No. 1 . 

If cane is not desired, panels of wood or glass will 
look well. 

To be finished in white enamel. 



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[63] 



PLATE 18- DRESSING TABLE BENCH 



HOW TO DRAW 

Why are there three views for the drawing of this 
problem? Would two views have been enough? 

If so, which two? 

What is the purpose of putting in the 1 " X 1 " 
stretchers between the end legs and under the seat? 

Would the seat give good service if these stretchers 
were left out? 

What change would be necessary to convert the 
bench into a piano bench? 

Scale 1/8 size. 

The spaces between the three views should be the 
same. 

The spaces at each end near the border lines 
should be equal. 

Allow a little more space at the top than at the 
bottom. 

Print the name at the top. 

Print the stock bill to the right of the top view. 
(Make out the stock bill on a separate sheet of paper 
before printing on the plate.) 

The end view shows the caning as it looks from 
the inside. 

[64.] 



What change would be necessary to show it 
as it looks from the outside? 

Complete the drawing, trace, and blue print. 
Do not forget the stock bill. 

HOW TO BUILD 

Get out the posts to length and square to 1 1/2". 

Work out the V-grooves, taper the bottom to 
1 " and the inside of the top to 1 ". 

Get out the two side and end rails next, allowing 
3/4" for tenons on each end of each piece, work to 
size but do not square the ends. 

Lay out the tenons on the two end rails, work 
them to size, and frame them into the two end posts. 

The outside surface of these two rails as well as 
the two long rails are set in 1/4" from the outside 
faces of the posts. 

The stretcher at the top and the one below the 
end seat rail must have been fitted into the posts 
before gluing up the ends. 

If these pieces fit snugly when in place, under the 
pressure of the clamps, take apart and glue up. 

See to it that the work is not twisted. 




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rLATE IS— DHESSIXG TABLE BENCH 



[65 ] 



PRACTICAL DRAWING 



Cut the tenons on the side rails next, and frame 
them into the posts. 

Be careful to get the top edges even with the top 
edges of the end rails. 

If the long stretcher is used, get it out next and 
frame it into the two end stretchers on a single mor- 
tise and tenon joint, the tenon to have a shoulder on 
the four sides. 

The tenon should not pass through the end 
stretchers. 

Next make the frame for the top. 

The side pieces of this frame are tenoned into the 
posts, and the end pieces of the frame are tenoned 
into the side pieces, being notched to fit the corners 
of the posts. 

When these parts, namely, side rails, bottom 
stretcher, and seat frame are ready, neatly fitted, 
and all parts are square when clamped up, glue the 
bench and clamp. 

See that the bench is not twisted. 

Fasten the frame to the rails by driving screws 
through the rails and by using glue blocks. 



If screws are used, counterbore for the heads. 

Next fit on the 1/2" strip. 

The corners are to be mitered. 

Clean the work with the plane, scraper, and sand- 
paper. 

Fill, stain, and sandpaper after the filler sets. 

Give the work a coat of thin white shellac, let 
it set, and sand down with fine sandpaper and oil. 

Get out the frames for the caning, stain and fasten 
securely in place with glue and nails. 

Do the caning next. (See page 123.) 

After caning, give the bench another coat of thin 
white shellac, and after it has set sand down with fine 
sandpaper and oil. 

Apply a coat of quick drying varnish. 

After drying rub down with No. 00 sandpaper 
and oil. 

Give another heavier coat of varnish. 

Fit the posts with caster rings and small casters 
to match. 

If the caning is not desired, make a solid top and 
fit slats in the ends or leaye open. 



[66] 



PLATE 19 -GATE-LEG SERVING TABLE 



HOW TO DRAW 

Scale 1/8 size. 

Space the drawings so they will appear well on 
the plate. They must not look crowded. 

Make out the stock bill, and print above the right 
end view. 

Trace and blue print. 

HOW TO BUILD 

Get out six legs and work down to 1 " square. 
Two are 29 " long and four 27 " long, with a 1 " tenon 
on the lower ends, making them 28" long. 

Get out the top and bottom rails for the ends, 
allowing a 5/8" tenon on each. 

Work to size and make the tenons. 

Work out the mortises in the legs and fit the 
tenons into them. 

The outside faces of the rails and posts must be 
even. 

Cut tenons on the bottom of the four short posts 
or legs. 

Get out the shaped base next. 

This base piece is 1 1/4" X 2" X 8", with a 1/2" 
piece sawed out on the under edge. 



The upper corners are round. 

Measure and cut out mortises to receive the tenons 
cut on the legs. 

If the work has been well done and each joint 
fits as it should under the pressure of the clamps, 
take apart and glue up. 

See to it that the work does not twist under the 
clamps. 

Get out the four side rails next, allowing for 
5/8" tenons on each piece. 

Work the tenons to size and frame them into legs, 
which have already been glued to the end rails and 
base piece. 

Get out and frame the stretcher iri place at the 
bottom. 

Clamp the framework of the table and if all the 
joints fit well take the pieces apart and glue up. 

Test for squareness and see that the work is not 
twisted. 

Get out the piece for the top, and also the two 
leaves. 

The top is fastened to the rails with screws 
by driving the screws through the rails from the 
under side, slanted toward the outside. 

[ 67] 



PRACTICAL DRAWING 



Glue blocks may be used. 

Gouge out the hole a little to receive the head of 
the screws. 

Use No. 12, I 1/2" flat-head wood screws. 

Do not use any glue to hold the top on. 

The two gates are to be made next. These re- 
quire the two long legs and the two short (9") legs. 

Get out the two short legs as well as the four 
stretchers. 

Allow for the 5/8" tenons on these and frame 
them into the long and short legs. 

The center of these stretchers must be in the 
center of the legs into which they are framed. 

Glue and clamp. 

The finished gates are hung on 1 1/2" X 1 1/2" 
steel butt hinges, two on each gate. 



One gate swings to the right and the other to the 
left. 

The two leaves are also hung on butt hinges. 

Fasten the hinges to the under side. 

When the gates are closed the leaves should drop 
down against the gates, thus holding them closed. 

The top should be straight when opened. 

Clean the table and smooth it down with the 
scraper and sandpaper. 

Fill, stain, shellac, and varnish. 

If the cane panels are used, make the cane frames 
next. 

Stain, fasten the frames in place, and cane accord- 
ing to instructions for caning, page 123. 

Varnish the caning. 



[68] 




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PLATE 19— GATE -LEG SEHriXG TABLE 



C 69 ] 



PLATE 20 -CLOTHES HAMPER 



HOW TO DRAW 

Should a clothes hamper have provision made for 
the free passage of air? 

Why is the caning practical in this case? 

Was it necessary to show four views? 

Can you see the finished object by looking at 
the drawing? 

How is the back put in? 

How is the bottom fastened into place? 

How is the top built and fastened to the base? 

Should there be casters in the posts? 

How are casters fastened to the posts? 

Suppose one does not care for a clothes hamper; 
could the article be used for any other purpose? 

What changes would be necessary? 

Scale 1/8 size. 

Draw the four views, work out the stock bill, 
and blue print. 

HOW TO BUILD 

Get out the four posts 1 1 /2 " square and 29 1 /4 " 
long, and taper to 1 " at the bottom, beginning at 
a point 3" up the posts. 



The two end upper rails and the two end lower 
rails are to be worked out, allowing for 3/4" tenons 
on each piece. 

After making the tenons, lay out the mortises, 
work them out and fit the tenons into place. 

There is a piece 3/4" X 1 1/2" X 20 1/4" plus 
1 1/2" allowed for the tenons, which divides the 
opening into two equal spaces 5 3/4" X 20 1/4". 

Make this piece next and tenon it into the top 
and bottom rails. 

There is a good reason for having this piece in 
the ends. What is it? 

There is a 2" strip in the front and in the back. 

Why are they necessary? 

Put the ends together and clamp. 

If the joints fit well, take the clamps off and glue. 

Be careful that the clamps do not twist the work. 

Small soft wood blocks placed between the clamps 
and the work will protect the wood. 

Get out the other end pieces and glue. 

Remember that all parts are to be laid out with 
a sharp knife. No lead pencil is to be used. 

Get out the two top and the two bottom rails 
next, one each for the front and back. 



[70] 



J 

s 




PLATE 20 — CLOTHES HAMPER 



[ 71 ] 



PRACTICAL DRAWING 



Do not forget to allow for the 3/4" tenons. 

All stock for the back is to be soft wood. 

Work these rails to size and tenon into posts. 

The outside surfaces of the rails and posts are 
even. 

Now get out the 2 " center pieces, one for the front, 
the other for the back. 

Tenon these into the rails. 

Before gluing the work, cut out 3/8" grooves in 
each of the back posts, in the under edge of the back 
upper rail, in the upper edge of the lower rail, and in 
each edge of the 2" strip, into which 3/8" soft wood 
panels are to be fitted. 

Fit the back and front framework into the posts 
and clamp. 

If the work is square and the joints fit well, take 
the clamps off and glue the work. 

Keep the work square and watch out for twisting. 

Fasten 1 " X 1 " soft wood strips around the inside 
at the bottom. 



The soft wood bottom is fastened to these strips. 

Square the top. 

Clean the outside with the plane, scraper, and 
sandpaper. 

Fill, stain, and shellac. 

Make the cane frames, stain, and fasten into 
place. 

Do the caning next, according to instructions 
for caning on page 123. 

Glue the top, plane, and scrape down to a smooth 
even surface. 

The underside of the top has two cleats. Why? 

The top projects to the front 3/8" to give a hold 
when lifting. 

The top is hinged on with two 1 3/4" X 3" 
brass butts. 

Varnish the top and rub down. 

Fit the posts with casters and caster rings to 
match. 

Bore a few 1/4" holes in the bottom. Why? 



[72] 



PLATE 2 1 - CANED BOOK TROUGH 



HOW TO DRAW 

The new feature in this drawing is the shaped 
pieces for the feet and braces. 

The curves can be drawn with the compass. 

The student may change the design of these eight 
pieces if he cares to. 

The design at the base, however, must not have 
less than a 12" width — a little more, perhaps, would 
add to the appearance and make the trough more 
rigid when finished. 

Name several purposes for which an article of 
this kind could be used. 

If the trough were to be placed a little away from 
the wall, would casters add to its usefulness? 

Why? 

Does the design, considering its use, appeal to 
you? 

If you were to build the trough, which, in your 
opinion, is the hardest part? Why? 

What are the 2" X 5" pieces for on the long or 
back part of the caned trough? 

Why should the inside of the trough be 90 
degrees? 



What would a piece of furniture built as designed 
cost if purchased through a first-class furniture 
dealer? 




BOY'S WORK 



[73] 



PRACTICAL DRAWING 



Suppose the trough were built of two solid pieces 
instead of two frames, would it appear as well? 
Scale 1/8 size. 
Make out stock bill, trace, and blue print. 

HOW TO BUILD 

Get out the square posts 1 1/2" X 1 1/2" X 
18 3/4" long. 

Chisel the V-grooves in each. 

Chamfer the lower ends to a point 3/4" back. 

Cut a 45-degree groove in the top of each. 

Get out the top and bottom stretchers next, 
allowing for 1 " tenons on the ends of each. 

Frame these stretchers into the posts. 

The center of each stretcher should be in the 
center of the post. 

The upper stretcher is to have its top edge even 
with the lower part of the groove cut in the top of 
the posts. 

The lower edge of the bottom stretcher is to be 
even with the line of the 3/4" chamfer. 

Test for squareness under the pressure of the 
clamps. If the joints are square and the work is 
not twisted, take the clamps off and glue. 

After the glue has set, clean the work, fill, stain, 
and shellac. 



Design the legs and lay them out with a templet. 

Keep the grain of the wood with the length of 
the legs, as nearly as possible. 

Saw these out on the band saw, or if a band saw 
is not at hand use the turning saw. 

Work out the braces in the same manner. 

The outside edges of the legs or feet and the braces 
should be slightly rounded, and the straight face 
which makes the butt joint should be planed straight. 
A file is not to be used. 

Use the spokeshave and file on the other parts. 

Fasten on the feet with No. 10, 1 3/4" round- 
head, blue screws, after filling, staining, and coating 
with shellac. 

Use a little glue in each joint. 
The trough is built of two frames. The parts of 
each frame are put together with mortise and tenon 
joints. 

The inside edges of the frames have a 1/4" rabbet 
worked out into which a 1/4" piece of wood is fitted, 
thus making the inside surface of the trough smooth. 

Thus the caning is necessary only on the under 
side. 

The frame for the caning is built and fastened 
into the back piece only. 

Instead of making a cane frame for the front 



[ 74] 




PLATE 21— CANED BOOK TROUGH 



[75 



PRACTICAL DRAWING 



piece, work out a solid piece of soft wood, rabbet 
it on the under outside edges, and fasten securely 
into place. 

The space is too small to receive a frame. 

Fill, stain, shellac, and fasten the trough together 
with screws driven from the back. 

Either round or flat-head screws may be used. 

If flat-head screws are used, counterbore and 
plug. 

The two end book braces may be put in after the 



other construction has been done, or before fastening 
together. 

Fasten the braces to the posts with round-head 
screws and set the trough in position. 

If it fits well screw the braces to it. 

Rub with fine sandpaper and oil. 

Cane according to instructions for caning on 
page 123. 

Varnish. 



[76] 



PLATE 22 -CEDAR CHEST 



HOW TO DRAW 

Why are chests of this character usually built 
of red cedar? 

Why is white cedar not used? 

Scale 1/8 size. 

The small pieces used as feet can be laid out with 
the compass or dividers. 

The design may be changed. 

The curve on the 2 " shaped front pieces will have 
to be drawn by the aid of the irregular curve, or a 
templet made and the pieces laid out from it. 

The design of these two pieces also may be changed 
if desired. 

In the event of the design being changed in any 
respect, the appearance and balance of the chest 
must not be destroyed. 

Work out stock bill, trace, and blue print. 

HOW TO BUILD 

Glue the stock for the two sides and ends, allow- 
ing for waste in working to size. 

The two end pieces are rabbeted to the front and 
back as shown in the drawing. 



Glue and nail these pieces together, setting the 
nails with the nail set. 

Be careful to get the framework square. 

Glue the stock for the 1,2" bottom and work to 
size, say about 21 1/2" X 43", planing the upper 
surface smooth. 

Nail and glue it to the bottom of the frame. 

Screws may be used instead of nails if desired. 

Work the projecting parts down to 1/2" on the 
ends and back, and to about 3/4" in front. 

Slightly round off the edges. 

Make four three-cornered soft wood glue blocks, 
one for each inside corner, 1 2 " long and about 1 1 /2 " 
on the 90-degree faces. 

Glue the two back inside comer glue-blocks in 
place. 

Get out the shaped feet and fasten them on with 
glue and flat-head wood screws. 

The two front shaped pieces for ornament are to 
be worked out and glued. 

Drive flat-head wood screws through the front 
of the chest from the inside into these shaped pieces 
before gluing the front glue blocks in position. 

[77] 



PRACTICAL DRAWING 



Countersink the heads of the screws a little below 
the surface of the wood, in order to allow the glue 
blocks to fit snugly against the surface of the front side. 

Glue the stock for the top next. 

Notice that the top has three 2" cleats fastened 
to the under side. Why? 

These cleats are to be fastened with glue and flat- 
head wood screws, countersinking for the heads. 

There is a 1 /2 " X 1 1 /2 " strip fastened to the ends 
and front of the lid after it has been hinged to the box. 



Use three 1 1 /2 " X 3 " tight-pin brass butt hinges 
for the top. 

Plane, scrape, and sand down to a smooth, even 
surface. 

Shellac and varnish. 

The inside is to be left natural. Why? 

Handles of some description are to be fastened 
to the ends. 

Fit the feet with casters. 



[78] 













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[79] 



PLATE 23 -PIANO BENCH 



HOW TO DRAW 

Scale 1/8 size. 

The posts are square with two V-grooves in each 



one. 



How is the top to be built? 
Is it a good method? 
Criticize the drawing. 

The design of the feet may be changed, but do 
not change any other part of the bench. 
Complete the drawing. 
Make out stock bill, trace, and blue print. 

HOW TO BUILD 

Get out the four posts 1 1/2" square and 16 1/8" 
long. 

Work out the V-grooves in each one. 

The two end rails are 7/8" X 3" X 12" plus 
3/4" on the ends for tenons. 

Get these rails out next and make the tenons, 
allowing a 1/4" shoulder on the top edge of each. 

The two side rails are made of the same size 
stock, but they must be 28" long plus the 1 1/2" 
tenons. 

[80] 



Get out these and make the tenons as you did 
on the other two rails. 

Get out two pieces 1 1/2" square and 13 1/2" 
long for the bottom stretchers. 

These are to be framed into the lower ends of the 
posts parallel with the end rails on double mortise 
and tenon joints. 

Glue the end, keeping your work square and free 
from twist. 

Frame up the other end in the same manner. 

Now work out the side rails and glue them to 
the framed-up ends. 

The 7/8" X 2" stretcher must be framed into the 
two end stretchers before gluing up the bench. 

Notice that the bottom is fastened to the under 
side of the rails, after having notched the corners to 
fit the posts. 

The bottom should be 1/2" X 15" X 31" when 
finished. 

Plane and sand the upper surface before fastening 
in place. 

Any projecting ends or edges must be planed off 
before fastening the trim strips in place. 

Get out the 1/2" X 1/2" trim strips next. 



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PLATE 23—FIAjVO BENCH 



[81 j 



PRACTICAL DRAWING 



Fasten these on with small wire brads and a little 
glue. The corners are mitered. 

Slightly round off the edges and corners. 

There are five pieces to the top, the four pieces 
of which the frame is made and the panel. 

Get out the frame first, working out a 3/8" X 
5/8" groove in the edge of each piece. 

Do not miter the corners at this time. 

Make the panel for the center next, using 1 " stock. 

Cut out a tongue from the under surface to fit 
into the grooves that you worked out in the parts of 
the frame. 

The under surfaces of the pieces for the frame 
and panel must be even. 

The top of the panel will project 1/8" above the 
frame. 

Take the two end pieces for the frame, miter the 
ends, and fit them to the panel, holding them securely 
in position with clamps. 

Miter and fit the two side frame pieces to the 
sides of the panel, taking care to have the miter 
joints of the frame fit well. 

Clamp these pieces securely, placing the clamps 
on the opposite side from the other clamps. 

If your work is well done and the panel and 
joints fit neatly, take the two clamps holding the side 

[82] 



pieces off, place glue on the miter joints, and clamp 
up again. 

Do not place glue on the panel. 

The panel must be a little loose. 

The work must be square and free from twist. 

Keep the clamps about two inches away from the 
ends. Place small hand screws on each corner. 

After the glue has set, glue two 1/4" dowels 
through each corner, using the same kind of stock 
that you used in building the frame. 

Clean the bench with the plane, scraper, and 
sandpaper. 

Sponge the wood with clean water, and sand down 
when dry. 

Fume or finish with fumed stain, then shellac, sand 
down, shellac again, sand down using a little oil, 
varnish, rub down, give another coat of varnish, and 
polish with rottenstone and oil. 

The top fastens on with three 1 1/2" X 2 1/2" 
tight-pin, brass butts. 

Drive in a small rubber-headed tack on each under 
corner on the top or in the posts. 

The inside should be finished and the lid fitted 
with desk supports to prevent it from falling back 
and thus breaking the wood where the hinges are 
fastened to the rails. 



PLATE 24 -BEDSIDE TREES 



HOW TO DRAW 

The objects on this plate are not costumers. 
They are much shorter and the base of each is nar- 
rower, the purpose being to furnish a convenient 
place to hang the clothes, when retiring, or to use 
in case of sickness. 

The small shelf adds a new feature, and the value 
of the tree is increased many fold. 

In case of sickness towels may be hung on the 
hooks, medicine and a glass of water may be placed 
on the shelf. 

They also provide a serviceable convenience for 
the mother and the babe. 

Sandpaper could be glued to the under side of 
the shelf and the stand used as a smoking stand with 
a convenient place to hang the hat or cap. 

They are light, occupy but little space, are easily 
moved about, and look well. 

Scale 1, 8 size. 

Divide the paper into three equal parts 4" X 9". 

Draw the 9" line vertical. 

Locate and draw a vertical center line in each 
space and work to the right and to the left of the 
line. 




BOY'S WORK 



[ 83 ] 



PRACTICAL DRAWING 



The tree on the left in the plate is to be drawn 
according to the dimensions given. 

The design of the feet on the tree in the middle 
may be changed. 

The tree on the right in the plate is to be drawn 
without any changes. 

Use the irregular curve in drawing the curves on 
the feet. 

Work out the stock bill, trace, and blue print. 

HOW TO BUILD 

Get out the post for the first tree 1 1/4" square 
and 48" long. 

Chamfer the ends to a point 5/8" back, and work 
out the V-grooves. 

Make a templet for the feet. 

Mark out the feet and saw with the band saw 
or with a turning saw. 

Smooth the feet with the plane, spokeshave, 
and file. 



Do not use a file on the part making the butt joint. 

The feet may be doweled or fastened to the post 
with round-head screws. 

Use glue in either case. 

The bottom is to be loaded in order to move the 
center of gravity near the base. 

Build the middle tree similar to the first one, 
following the drawing. 

The difference between the one on the right and 
the others is in the construction of the shelf. 

The shelf is a square piece with a square hole 
worked out in the center, and is slipped down over 
the post from the top. It rests on a piece of molding 
fastened to the post on miter joints. 

Small braces to match the feet may be substituted 
for the molding. 

The shelf is held in place with a little glue. 

The hooks should not be too large. 

The finishing (stain, etc.) is left to the taste of 
the builder. 



[84] 



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FLATE 24 — BEDSIDE TSEES 



[85] 



PLATE 25 -READING LAMPS 



HOW TO DRAW 

The lamps are not high, and have been designed 
for convenience when reading. 
Scale 1/8 size. 

Do not change the design of the lamp at the left. 
The one to the right may be changed. 
Make out stock bill, trace, and blue print. 

HOW TO BUILD 

Work out the post as you did for the bedside 
tree on Plate 24, tapering it to 1 " square at the top. 

A templet is to be worked out for the feet and 
braces under the book rack. 

Get these out and fasten to the post with dowels 
or round-head wood screws. Use glue. 

Build the trough or book rack as per the drawing, 
cutting a square hole in the center to fit the post. 

Slip the rack on from the top of the post. 

The hole for the cord may be sawed out full length 
on the circular saw, gluing a strip mto the groove 
deep enough to leave a 3/8" hole. 

Plane the strip even with the surface of the post 
when the glue has set. 

[86] 




BUILT IN THE AUTHOR'S CLASSES BY HIS PUPILS 



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PLATE 23 — IiEADiyG LAMPS 



C 87] 



PRACTICAL DRAWING 



If it is not convenient to make the hole in the post 
in this manner, and you have no means of drilling 
a hole, take a No. 6 auger bit and bore in from the 
top the full length of the bit. 

From one face bore a 3/8" hole in to meet the 
lower end of the first hole. 

Thus the cord will come out 6 or 8 inches below 
the top of the post, which will not look bad. 



The top of the post is fitted with a 2" block to 
which the metal fixture is fastened. 

If all the parts have been worked out and are 
well finished, stained, and filled before gluing in place, 
time and labor will have been saved. 

The straight metal fixture may be substituted 
for the goose neck. The lamp on the right is built 
in the same manner as the first one. 



[88] 




PLATE 26 -TELEPHONE TABLE 



HOW TO DRAW 

Do four views add to the understanding of the 
drawing? 

Name and explain the different views. 

Criticize the design. 

How is the swinging bracket for the 'phone fas- 
tened to the table? 

Is the construction good? 

How is the bottom put in place? 

How would a drawer look? 

How far from the floor is the under side of the 
bottom? 

What do the arrow points on the top view 
indicate? 

Do the round corners and edges add to the appear- 
ance of the table? 

Scale 1/8 size. 

Locate and draw a vertical center line and work 
to the right and left of it. 

Make out stock bill, trace, and blue print. 

How would you like to build a table just like 
the one in the drawing? 

Could you use it in your home? Do you think 
your mother would like to have one? 



HOW TO BUILD 

Get out two posts or legs 36" long, and two 31 1 ^ 8" 
long, work out the V-grooves, and taper as per the 
drawing. 

The two end rails are 7/8" X 4 1/2" X 15" 
plus 1 1/2" for the tenons. 

Get these out and make the tenons. 

Work out the mortises in the legs and fit the rails 
into place. 

Glue and clamp your work if it is square and the 
joints fit well. 

Get out the back rail, which should be of soft 
wood. 

The 1 1/2 " front rail is to be the same kind of 
stock as that of the end rails. 

Get this piece out and frame it as well as the back 
rail into the posts. 

The top 1 1 /2 " stretcher must be worked out and 
framed into the posts before the table is glued up. 

Clamp the table up and if everythmg is square 
and has been well fitted take it apart and glue it. 

Test for squareness and twist. 

Get out and glue the top. 

After the glue has set, fasten the top to the table 

[ 89] 



PRACTICAL DRAWING 



by driving screws through the front rail on a slant, 
and through the end and back rails from the Inside. 

Use a few glue blocks. 

The two back corners of the top must have been 
notched to fit the posts. 

Now make the 1/2" soft wood bottom and fasten 
to the under edges of the rails with glue and screws, 
notching the corners to fit the posts. 

Fasten on the small 1/2" trim strip next; this 
will cover the exposed edges of the bottom. 

The pieces at the corners are to be mitered. 

Round off the edges and corners. 

The bracket for the 'phone is built of two pieces, 
the circular piece for the 'phone, and the arm. 



The circular piece is to be turned up on the 
lathe. 

Fasten it to the arm with screws driven from the 
top or from the under side of the arm. 

The arm is doweled to the back of the table with 
a 1/4" or 3/8" dowel, by boring a hole through the 
stretcher, through the arm, and down into the top of 
the table. 

Clean the table with the plane, scraper, and sand- 
paper. 

Stain, fill, and varnish. 

Glue a piece of green felt inside the circular piece 
on which the 'phone rests. 



[90] 



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PLATE 26 — TELEPHONE TABLE 



[91 ] 



PLATE 27 -TELEPHONE-TABLE CHAIR 



HOW TO DRAW 

Scale ^ size. 

This chair is to go with the table. 

From the drawing can you determine how the 
upholstering is to be done? 

Do caning and upholstering go well together? 

How would a chair similar to this one do for the 
dressing table? 

Make out stock bill, trace, and blue print. 

HOW TO BUILD 

Lay out the back legs and saw both at the same 
sawing, by nailing together. 

Next make the two front legs. 

All the seat rails are to be of soft wood. 

Get out the top back rail, the front seat rail, and 
the back seat rail and frame them into the legs. 

The side seat rails and the side stretchers come 
next. Frame these into the legs. 

The middle stretcher at the bottom is to be framed 
into the side stretchers. 

Notice that the two side rails and stretchers do 
not fit the posts at right angles. 

Lay these out from a center line passing from the 
front of the chair to the back. 

Set and use the T level. 

[92] 



If the joints fit, glue up the chair and clamp. 

Keep the chair straight with the center line drawn 
through the chair from front to back. 

Do not let the work twist under the clamp. 

Glue and screw 1 " strips around the inside seat 
rails, the top edge of these pieces being 3/4" below 
the top edges of the seat rails. 

The bottom is a solid piece which rests on the 1 " 
strips. Fasten the bottom to the strips from the top 
or bottom. 

Saw a hole, as indicated on the drawing, in the 
center of the bottom and save the piece sawed out. 

Clean the chair, stain, fill, and varnish. 

Make the cane frame next; stain and fasten it 
into place. 

Fasten the upholstering material by driving tacks 
in the under edge of the seat rails, except at the back. 

Now through the hole in the bottom push hair 
back even with the edges of the rails until the seat 
has been well filled. 

Push the round piece you sawed out up into the 
hole and nail or screw a 1 /2 " piece over this to hold 
it in place. If the upholstering material does not lie 
close to the top of the seat rails, put in a row of up- 
holstering tacks about 1 " down from the top of the rails. 

The caning is to be done next. See page 1 26. 



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PLATE '^7— TELEl'llONE - TABLE CIIAIli 



C 93] 



PLATE 28 -UMBRELLA STAND 



HOW TO DRAW 

Criticize the drawing. 

Suppose one would like to have coat hooks on the 
stand, where would be the best place to fasten them 
and not cover the mirror? 

How is the bottom held in place? 

The mirror frame swings on toilet screws. 

Describe them. 

Get one or two and bring to the class. 

There is a cheaper method of fastening swinging 
frames of this character. Ask a furniture dealer to 
show you some other methods. 

What would be a fair price to pay for a suitable 
mirror for this piece of cabinet work? 

Scale 1/8" size. 

Make out stock bill, trace, and blue print. 

HOW TO BUILD 

Get out two posts 1 1/2" square and 60" long, 
cut the V-grooves, and taper the outside surface of 
each as shown on the drawing. 

The two front posts are I 1/2" square and 29" 
long. Get these out. 

[94] 



There is a 1" X 2 1/2" X 3 1/2" block fastened 
to the bottom of each front post and rounded off on 
both sides and in front. 

Get out these blocks next. 

Get out the four side rails and frame them into 
the posts. 

Glue and clamp these together. 

The two front and the two back rails are to be 
framed into the framed-up sides next. 

The two back rails are to be of soft wood. 

If the open back is not desired, frame a 2" center 
piece into the top and bottom back rails and fit 3/8" 
panels into the openings. 

Glue and clamp the stand together. 

See to it that the work is square and not twisted. 

The bottom rests loosely on two 1/2" X 1 1/2" 
soft wood strips fastened to the side bottom rails. 

Get out these and fasten them in place. 

Cut a hole in the bottom to receive the umbrella 
pan. (Purchase the pan before cutting the hole. Cut 
the hole to fit the pan rather than get a pan to fit 
the hole.) 

Fasten a 3/4" X 3/4" soft wood strip around the 
top, inside edge of the top rails as shown. 



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[95] 



PRACTICAL DRAWING 



Get out the 1 /2 " X 2 " strip for the frame around 
the top. 

This frame is mitered at the corners. 

Get out the frame for the mirror next. 

Work out a 1/4" X 3/8" rabbet to within 1/4" 
of the front surface to receive the mirror. 

The frame is put together with mortise and tenon 
joints, and the corners are rounded off. Do not 
round the corners off too far back or you will work 
into the mortise and leave the corner looking poorly 
finished. 

Cover the back of the mirror with heavy 



cardboard, holding it in place with thin strips of 
wood. 

Glue a piece of thick paper over these. 

Clean all your work well and finish to suit your 
taste. 

The mirror frame swings on two toilet screws 
that are placed a little above the center of the frame 
as shown. 

Get out the cane frames and cane. 

Burlap or leather may be tacked on the back 
instead of framing in wood panels. 

Slats would look well. 



[96] 



PLATE 29 -BLUE PRINT FRAME 



HOW TO DRAW 

Scale 1/2 size. 

There are two new features in this drawing. What 
are they? 

The pupil is to make a working drawing showing 
three views, a section of the frame to be hatched on 
each view. 

Make out stock bill, trace, and blue print. 

How many parts are there to a blue print frame? 

Criticize the drawing. 

Can you suggest a better method for construct- 
ing the lid? 

What is the purpose of the steel springs? 

Could any other material be substituted for the 
steel or brass springs? 

What is a fair price to pay for a frame like the 
one shown? 

How much would it cost to build one? 

HOW TO BUILD 

The drawing shows the side and end pieces 1/2 
size fully dimensioned. 



Get the pieces out as per the drawing and glue 
them together. 

See to it that the joints fit well and that the frame 
is square and not twisted. 

Get out the two pieces for the lid. 

Hinge these two pieces together with brass butt 
hinges. 

Fasten the springs on with small bolts or rivets. 

Do not use screws. 

A small knob or handle of some description fastened 
to each end of the lid will be helpful in taking it off 
and placing it on the frame. 

The outside corners of the frame could be bound 
with copper or brass, thus adding to the strength of 
the frame. 

A piece of clear glass 10 1/2" X 14 1/2" is re- 
quired. 

The glass fits loosely in the frame and is held in 
place by the lid. 

A pad of felt must be provided. 

This pad may be glued to the under side of the 
lid or it may fit loosely on the glass. 



[97] 



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SfJCfK TO BE BUIt.T OP S PieCSS 
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PLATE 29— BLUE PHIWT FBAME m" X UV' 



[98] 



WOOD TURNING PROJECTS 

1 . Beads, Hollows and V-Grooves 

2. Stepped Cylinder 

3. Stocking Darner 

4. Rolling Pin 

5. Potato Masher 

6. Pin Tray 

7. Holder for Ink Bottle 

8. Toothpick Holder 

9. Jewel Cup, Card Receiver 
10. Candlestick 

I i . Powder Boxes 

12. The Gavel 

13. Small Box 

14. Bowl 



r99] 



PRACTICAL DRAWING 




BEADS, HOLLOWS, AND V-GROOVES 

Turn cylinder first. Cut ends as shown. Use gouge 
and skew only. Do not use sandpaper. 




STEPPED CYLINDER 

Use gouge, skew, and square scraper. 

C 100] 




STOCKING DARNER 




ROLLING PIN 

Material, maple. Finish with sandpaper. No oil or varnish to be used. 
Finish ends at bench. 




POTATO MASHER 

Material, maple. All cutting may be done with gouge and chisel. Finish 
with sandpaper. No oil or varnish to be used. Remove from lathe and trim 
at bench. 



WOOD TURNING PROJECTS 




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PIN TRAY 
Glue red or green felt to bottom. 




HOLDER FOR INK BOTTLE 




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TOOTHPICK HOLDER 





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[ 101 ] 



PRACTICAL DRAWING 



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CANDLESTICK 



POWDER BOXES 



C 102 ] 



WOOD TURNING PROJECTS 




THE GAVEL 



C 103] 



PRACTICAL DRAWING 




SMALL BOX 





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[ 104] 



BOWL 



WOOD PATTERN PROJECTS 

1. Chipping Block. 

2. Right Hand Crank. 

3. Wall Bracket. 

4. Left Hand Crank. 

5. Iron "C" Clamp. 

6. Bracket. 

7. "T" for 1" Gas Pipe. 

8. Bearing. 

9. Milling Machine Gear Blanks. 

10. Webbed Pulley. 

11. Hand Wheel. 

12. Brass Oil Cup and Core Box. 

13. Angle Iron and Core Box. 

14. Return Bend for 1" Pipe. 

Core Print for Return Bend for 1 " Pipe. 
Core Box for Return Bend for I " Pipe. 

15. "T" Rest for 10" Lathe. 

Pattern for "T" Rest for 10" Lathe. 

16. Casting for Pillow Block. 
Pattern for Pillow Block. 

Core Box for Small Core Prints for Pillow Block. 
Core Box for Large Prints for Pillow Block. 

17. Brass Candlestick. 



C 105 ] 



PRACTICAL DRAWING 



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Finish all over. 




C 106] 



RIGHT HAND CRANK 




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WALL BRACKET 




LEFT HAND CRANK 



WOOD PATTERN PROJECTS 







IRON "C" CLAMP 




BRACKET 




FOR ONE-INCH GAS PIPE 



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BEARING 





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Wllhout W:ih No. 

.trmn Arms Tccih 
A A I! C D E 

5.2" 50 5" ■." 2'," 1 

5.6" 54 

5.8" 50 

0.2" 60 

6.8" 06 

7.0" 08 

7.2" 70 

7.6" 74 

8.0" 78 

MILLING MACHINE GEAR BLANKS 

[ 107] 



PRACTICAL DRAWING 




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ANGLE IRON 
Cast Iron. 




HAND WHEEL 




CORE BOX FOR BRASS OIL CUP 




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CORE BOX FOR ANGLE IRON 
Split Box. 



C 108] 



WOOD PATTERN PROJECTS 




RETURN BEND FOR 1-INCH PIPE 





CORE PRINTS FOR RETURN 
BEND FOR 1-INCH PIPE 



CORE BOX FOR RETURN 
BEND FOR 1-INCH PIPE 





T-REST FOR 10-INCH LATHE 



BASE OF T-REST FOR 10-INCH LATHE 

Draft is not shown. Allow draft at places marked C. 
Turn small core prints on both ends of y4 — one :]", the 
other If" long. 

C 109] 



PRACTICAL DRAWING 




CASTING FOR PILLOW BLOCK 

Cast iron. To be molded in the drag. No loose 
pieces. 




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PATTERN FOR PILLOW BLOCK 
To be molded in the drag. No loose pieces. 
[110] 



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CORE BOX FOR " 
PRINTS 



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CORE BOX FOR "A" STOP-OFF 

CORE PRINTS 

Draft is not shown. 




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BRASS CANDLESTICK 

Core box to be built in three pieces. 
Large part to be turned. Pattern to be 
turned in two parts. May be used as 
an electric lamp. 



ADVANCED CABINET PROJECTS 

1 . Colonial Library Table with Column Posts 

2. Library Table with Leather Top 

3. Sewing Cabinet 

4. Drawer Construction 

5. Shields 

6. Library Chair 

7. Serving Table 

8. Desk 

9. Sheraton Telephone Cabinet 

10. Magazine Rack with Book Trough 

1 1 . Chafing Dish Stand 

12. Aquarium and Fernery Combined 

13. Chiffonier 



C III ] 



PRACTICAL DRAWING 







COLONIAL LIBRARY TABLE WITH COLUMN POSTS 

All joints to be mortise and tenon. Drawer slides to be framed. Leave 1" dowels on each end of turned posts. 
Band saw the scroll feet and fasten on with dowels and screws. Groove the back and end rails on the inside i" from 
the top edge with a |" x f" groove. Also rabbet the inside lower edge of these rails |" x |" to receive the bottom frame. 

The molding on the outside of lower frame may be put on with headless nails and glue, using miter joints. 
Bore and counterbore holes for casters. Fill and shellac the under side of the top before screwing it in position. Use 
metal drawer pulls. Finish to suit. 



C 112] 



ADVANCED CABINET PROJECTS 








STKeT-cffsn 
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All joints to be mortise and tenon. Top to 
be built of soft wood and covered with leather, 
fastened on with metal fasteners. Posts to be 
built of soft wood and veneered on four sides. 
Posts to be fitted with heavy caster rings and 
sliding furniture shoes. One large turned drawer 
pull for each drawer, about 12" long. Use any 
good drawer construction. 




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OUTRIDE £/VJ> 



SECrfOA^ ft 73 



LIBRARY TABLE 



All cane work to be done on frame. Work out a groove in frame about Y wide and f " deep. Cut the caning a little 
larger than space to be caned. Put glue in groove, wet caning, and force it into groove with blunt end of piece of soft 
wood. After caning is in groove on four sides, glue small strip of wood or reed in groove over caning. If reed is used, 
do not wet it. When the caning dries it will be tight. 

Caning to be done after all construction is complete. Stain frame before caning. Put leather on the last thing. 
Drawer slides to be framed in. 



[ 113] 



PRACTICAL DRAWING 



Glue a strip for molding on the 
bottom of ends and back; work to 
shape. At the same time shape the 
molded bottom front rail C. Finish 
these moldings with gouge, molding 
scraper, and sandpaper. 

Leather pockets or sheaths in which 
scissors may be kept should be fas- 
tened to the under side of the top. 




Secure the top with butt hinges. 
To keep the top in upright position 
when open, two brass chains may be 
used. Either wooden knobs or metal 
pulls would be appropriate on the 
drawers. Fittings for the small 
drawers should be, among other 
things, pin trays and needle trays. 
Spool holders should be placed in 
one of the false drawers. 



SEWING CABINET 

Block out the legs to required size for curves. Make template and trace around it on lumber prepared for legs, 
and saw out on the band saw. Smooth the band sawed surfaces with a spoke shave. The spoon foot should be laid 
out and finished with a carving chisel. The outer edge of the entire leg is round. All joints to be mortise and tenon so 
far as possible. Legs may be fitted with small casters. The squares on which the legs are laid out are J". 



C 114] 



ADVANCED CABINET PROJECTS 



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DRAWER CONSTRUCTION 

Nos. 1, 2, and 3 at the right are methods of putting in drawer stops in the front slide or crosspiece. The above is only 
suggestive. One should be able to build a good drawer by using any of the joints. 



[ 115] 



PRACTICAL DRAWING 










SERVING TABLE 



Dowel or mortise and tenon joints may be used. Taper 
legs to 1" at bottom and fit witli open caster rings. 
Use a fumed and waxed finish. 



[116] 



ADVANCED CABINET PROJECTS 












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LIBRARY CHAIR 

All joints to be mortise and tenon. Sides of chair to be caned as shown. Cane work to be done on frame f" wide. 
Holes to be spaced V'. Back may be caned. Bottom may be upholstered or cushion used. 



[ 117] 



PRACTICAL DRAWING 



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DESK 

Stock, any hard wood. Front legs to be shaped. Joints 
to be mortise and tenon. Front of drawers to be slightly 
round on top and lower edges. If casters are to be used, 
shorten legs I5". Fasten pigeon-holes on with dowels. 



SHERATON TELEPHONE CABINET 

Joints to be mortise and tenon. V-grooves in 
legs to be done with chisel. Caning to be put 
in on frame. Fine fme cane to be used. Back to 
be a I" panel. Pigeon-holes on top may be fitted 
with small drawers. Fit bottom of legs with 1" 
open caster rings and casters to match. Use a 
fumed oak stain. Fill, varnish, and rub dull. 



C 118] 



CABINET PROJECTS 




MAGAZINE RACK WITH BOOK TROUGH 

Joints to be mortise and tenon so far as possible. Two cane panels on each side. Caning to be done on frame. 
Holes spaced i". If cane is not desired, make 1 slat 3" or 4" wide or 3 1" slats. All end framing to be flush with 
inside. Shelves to be doweled or fastened with screws and holes plugged. The 4 pieces at back frame mto posts and 
are screwed to shelves from back. 

C 1 



19] 



PRACTICAL DRAWING 




PET'^/I O/' C/7A/fA/C 



CHAFING DISH STAND 

All joints to be mortise and tenon. Caning may be hand or purchased. If hand, drill yV' holes i" spaced in 
frame. If manufacturing cane is used, the frame will have to be grooved. Cut caning larger than space to be caned. 
Put glue in groove. Wet caning and force down into groove with blunt end of piece of soft wood. A small strip of 
wood or reed glued into groove over caning holds caning in place. If reed is used it must not be wet. Hang caned door 
with the Soss invisible hinge. Use knob on door with lock and key if desired. Back is to be left open at top. Small 
wood panel at bottom. 



C 120 ] 




AQUARIUM AND FERNERY COMBINED 

All joints to be mortise and tenon so far as possible. Posts are square with V-grooves worked out with chisel 
and fitted with 1" caster rings. Box provided with glass on sides only. The two sides and outside ends of fern boxes 
to be caned with fine fine cane. Metal boxes to be set into fern boxes. 

[ 121 ] 



PRACTICAL DRAWING 







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CHIFFONIER 



Stock to be selected by builder. Any good drawer construction for drawers. Legs to taper as shown and to be 
fitted witfi caster rings and casters to match. All hardware should match. Mirror to be French plate with If" bevel. 
Pieces marked A are panels set i\" back. Drawers should slide J" back of front face of front posts. All joints to be 
mortise and tenon. Frame in which mirror frame swings to be fastened to body with cleats. 



[ 122] 



CANING 



Cane is the name applied to many plants that 
are possessed of long, slender, reed-like stems. 

Properly it should apply only to a class of palms 
known as rattans. 

The plants are found throughout the Indian 
Archipelago, Malay Peninsula, China, India, and 
Ceylon. 

They are described as growing in dense forests 
into which sunlight rarely penetrates, forming spiny 
bushes, making passage difficult or impossible. 

They frequently grow to the tops of the trees, 
fall over and trail on the ground; in fact it is their 
nature to trail. 

The stem is covered with green foliage, grows to 
a length of from one hundred to three hundred feet, 
and is rarely over one inch in diameter. 

For export the stems are cut into lengths of from 
ten to twenty feet. 

The outer bark or peel is stripped off into widths 
varying from one-sixteenth of an inch to three-six- 
teenths of an inch and put into bundles or hanks 
of one thousand linear feet each. 

Cane from India has very glossy peel while that 
from other places is usually dull in appearance. 



The first step in hand caning, after the frames 
have been built, is to make the holes. 

These are spaces 1/2" apart for fine cane peel 
and up to 3/ 4" for the coarser peel. 

There should be an equal number of holes on 
opposite sides, but they need not be equal on all sides. 

One hole must be at each corner or in the point 
of intersection of the lines of centers (Plate 14, page 
51). 

The holes should be 3/16" in diameter and from 
1/4" to 1/2" back from the inner or the outside edges 
of the frames, making a straight row parallel with 
the edge of the frame. 

The cane peel should be soaked in water before 
using. 

This prevents the peel from breaking and makes 
it easier to handle. It will pull taut when dry. 

A sponge should be kept at hand while weaving, 
dipped in clean water, and the peel pulled through 
it often, to prevent the strand of cane from drying out. 

The weaving is done as shown in the drawing, 
1, 2, 3, 4, 5, 6, page 125. 

The six strands which make up the weave are 
woven in the order shown. 

[ 123] 



PRACTICAL DRAWING 



Numbers 1 , 2, and 3 should be a little loose or 
at least not pulled tight. 

Number 4 together with the drying will take up 
the slack. 

A needle about 16" to 20" long, like the one in 
the drawing, is best for weave Number 4. 

The needle is pushed through the strands over 
and under across the panel. 

The cane is then threaded into the eye and the 
needle pulled back. 

By turning the needle over when pulling through 
and pulling back, the small bent point works over 
and under the strands to good advantage. 

Number 4 should be pulled taut. 

Number 5, the first cross weave, should be started 
very carefully, noticing the fact that it always crosses 
in the loose corner or so that it slips between the two 
cross weaves and does not bind. 

Number 6 travels the same on the opposite side 
from Number 5. 

Each time that one goes over the other goes under. 

Cane is held while starting by little soft wood 
pegs pushed into the holes over the cane peel. 

When the first loop on the under side is made in 
going from one hole to another, the end is slipped 
under it and thus fastened, and the peg is then 
removed. 

[ 124] 



The work is to be bound around the edges through 
the holes. 

See method of binding hand caning, page 125. 

The binder is a straight piece of cane peel, larger 
than the peel used for the weave. It is laid over the 
row of holes and fastened down with another piece, 
the same size as the weave, that is brought up through 
each hole over the binder and down through the 
same hole, then up and down through the next, 
and so on to the end. 

The last hole requires a peg on the under side 
with a little glue on it. 

Caning should be varnished or shellacked to pre- 
vent stretching in damp weather. 

The frames for caning should be built of soft 
wood mitered, tenoned, or with half-lap joints. 

A and B show two methods of preparing the frames 
for hand caning, page 125. 

A requires cane peel binder, while in B the holes 
are covered with a strip of wood. 

The frame in B has a 3/16" rabbet worked out 
on each side to within 1/4" of the back edge. 

C and D show two methods of building the frames 
for factory caning. 

The binder in C is a 1/4" reed. 

D shows the reed covered with a thin strip of 
wood. 



CANING 




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CANING 



[ 125 ] 



PRACTICAL DRAWING 



The sketch shows the caning held in place by a 
strip of wood instead of a reed. 

The factory caning is easily put in and saves 
time. 

Prepare the frames working out the rabbet 1/4" 
X 5/16" before making the corner joints. 

The frames must be fitted tightly into the opening 
provided. 

Stain the frames. 

Cut the caning about 1/2" larger all around than 
is required to fill the panel. 

Steam the caning or soak it in hot water. 

Place glue in the grooves. 

Lay the caning over the opening to be caned. 

Be careful to keep the line of holes in the caning 
parallel with the cane frame. 

Drive a few very fine wire brads on the sides 



through the strands of cane peel, just far enough to 
hold the caning from slipping. 

Take a piece of soft wood, say 1/2" X 3" X 6", 
and work it down to look like the sketch, page 125. 

The small part at the end must be a little smaller 
than the groove into which the caning is to be forced. 

Take the hammer and force the caning down into 
the groove with this piece of soft wood. 

Begin on one of the long sides first, take the other 
side next, the two ends last. 

As each side and end is finished fasten the binder 
in place. 

If reed is used do not wet it. 

The corners of the binder are mitered and held in 
place with fine wire brads. 

Trim the exposed ends of the caning with a very 
sharp knife. Dry in the open air if possible. 



C 126] 



STENCILING 



A stencil pattern is a design cut in a heavy sheet 
of oiled paper. 

The stencil pattern is laid flat upon the cloth or 
material and the color is then brushed over its surface. 

Thus the design formed by the openings in the 
paper is applied to the material beneath. 

With proper care a stencil will last indefinitely. 

There are two kmds of stencils: 

1 . The Solid Stencil is that m which the whole 
pattern is cut out and which produces a complete 
design. See A, page 129. 

2. The Outline Stencil is only the drawing or the 
outline, as the name implies, of the decoration. See B. 

A solid stencil decoration may be produced in one 
or more colors with one or more stencils. 

An outline stencil does not give a finished or com- 
pleted decoration, but requires the additional work 
of filling in by hand after the outline is applied to the 
surface and is dry. 

The outline stencil is used more for wall decoration. 

HOW TO MAKE THE STENCIL PATTERN 
Trace or draw the pattern on the stencil-board or 
oiled paper. 



Heavy manila paper may be used. 

Place a piece of transfer paper between the stencil- 
board and the drawn pattern. 

Fasten the pattern down firmly upon the stencil- 
board with thumb tacks. 

Trace with care. 

Do not press too hard on the lines which make up 
the pattern. 

Repeat parts of the design at each end to allow 
for matching. See CD. 

If heavy manila paper is used, the paper should be 
oiled with sweet oil on both sides after the tracing or 
redrawing has been done. 

Allow a few minutes for the oil to penetrate, and 
then wipe off any surplus oil remaining on the 
paper. 

The oil weakens the fiber of the paper, thus making 
it easy to cut and less likely to tear. 

If the pattern is not to be traced, it will be neces- 
sary to draw it directly on the stencil-board, which is 
a little hard. 

It is better for the beginner to make the drawing 
on another piece of paper and trace or transfer the 
pattern to the stencil-board. 

C 127] 



PRACTICAL DRAWING 



TO CUT THE STENCIL 

Place the stencil-board on the table or on a draw- 
ing-board, and slide a piece of blotting paper under 
the stencil. 

The blotter does not need to be the same size as the 
pattern, as it can be moved about as required. 

Fasten tightly with thumb tacks. 

Take the stencil knife or any sharp-pointed knife, 
hold it at right angles to the paper, and cut through 
the stencil-board with each stroke. 

Aim to cut each curve with one sweep by a slow, 
firm movement. 

Make the corners and angles clear and clean and 
make the curved hnes run harmoniously. 

The edges must not be left rough. 

When the parts of the pattern are all cut out, take 
the paper away from the board, and if you used 
manila paper or intend to use dye on the stencil-board, 
give each side a coat of thin white shellac. 

Hang the stencil up to dry. 

After drying it is ready for use. 

Care must be exercised when cutting and small 
connecting parts must be left uncut, thus preventing 
portions of the design from falling out. See G.H. on 
page 129. ■ 



HOW TO USE THE STENCIL 

The stencil should be held firmly against the sur- 
face to be decorated. 

Use thumb tacks to hold the stencil securely in place. 

Apply the colors through the openings in the stencil 
to the exposed surface, holding the brush at right 
angles to this surface. 

Use a regular stencil brush and work the color into 
the surface with a circular motion, making the brush 
help hold down the stencil while it is applying the color. 

A small stencil can easily be held in position with 
one hand. 

THE BRUSH 

A regular stencil brush should always be used. 

It should be clean and in good working condition. 

A short bristle brush is best as the color can be 
worked into the material without having the bristles 
spread or work under the edges of the stencil. 

Stencil brushes are made in various sizes, the 
smaller size being more suitable for the smaller size 
stencil patterns. 

THE COLOR 
Oil colors are a very satisfactory medium, and 
are recommended for general work. 



[ 128] 



STENCILING 



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[ 129] 



PRACTICAL DRAWING 



The different colors to be used are squeezed out 
of the tube on a glass slab or plate and a few drops of 
turpentine are added as required. 

The following companies put on the market splen- 
did colors in tubes for stenciling: 

A. H. Abbott & Co., Chicago. 

The Sherwin Williams Co., Cleveland, Ohio. 

American Color Co., Indianapolis, Ind. 

Abbott & Co. recommend the oil colors. 

Sherwin Williams Co. recommend their Flat-Tone 
Glaze and Stencil Colors for oil painted stencils. 

The American Color Co. recommend their E-Z- Dye. 

Any of these companies will furnish free instruc- 
tions regarding the use of their stencil colors. 

TO PREPARE THE COLORS 
The colors used for the stencil must be neither too 

thin nor too thick. 

If the color is too thick it will not give the clear, 

even tone, but will work out darker and heavier in 

spots. 

If the color is too thin it will work under the edges 

of the stencil and blur the outline when drying. 

MIXING THE COLOR 
Even though the stencil paints are made up in 
a splendid line of colors, it is often necessary to 

C 130] 



mix two or more colors to secure the desired 
shade. 

It is necessary at times to add stencil white to the 
color or mixed colors. 

A uniform shade is thus secured, and as sufficient 
color for the completion of the one border can be 
mixed at one time, a more even tone will be obtained. 

The addition of white is not always advised, for 
a clear, pure color is often necessary. 

REDUCING THE COLOR 

The strength of the color used may be reduced 
as follows: 

1 . By adding white. 

2. Thinning with "Glazed Liquid." 

3. Thinning with turpentine. 

Too much liquid of any kind should be avoided 
when thinning the color. 

Always try out the brush, either on the palette 
or stencil-board, to find if the color is working 
properly. 

Many colors lose their richness when white is 
added. 

Therefore, use Glazed Liquid. 

Substitute turpentine for the Glazed Liquid if the 
former cannot be obtained. 



STENCILING 



SETTING THE COLORS 

Sherwin Williams use a Stencil Medium, about 
one-tenth part, well mixed with the color to make 
washing possible. 

If E-Z-Dye is used, place a wet cloth over the 
finished stencil work and steam it well with a hot 
iron. This makes the colors absolutely fast for 
washmg. 

The materials, patterns, and colors should be 
carefully selected with relation to each other. 

If a border design is to be applied, keep the 
margin even. 

A chalk line, basting thread, or crease will make 
a good guide. 

STENCILING ON FABRICS 
Such fabrics as are used for curtains and table 

covers, including muslin, scrim, denim, linen, taffeta, 

and even velvet and chiffon can be treated with stencil 

colors. 

The end of the brush should be filled with color, 

wiping off any superfluous color before putting the 

brush on the fabric. 

The article to be stenciled should be laid over a 



sheet of white blotting paper on an even, flat surface, 
and the stencil firmly tacked in place. 

The purpose of the blotter is to provide a good 
working surface and absorb any surplus color that 
may penetrate the cloth. 

Use a separate brush for each color. 

The tendency with the beginner is to apply more 
color than is desirable. 

The fabric should be stained rather than painted. 

When the first impression has been finished, lift 
the stencil carefully, and if, through carelessness, 
any surplus color has collected on the under side of 
the stencil, remove it gently with a soft cloth, and 
place the stencil in position for the next impression. 
Some make a pad of several layers of cloth torn 
from something which has been made soft through 
having been laundered a number of times. 

Place the pad in a saucer, then with the brush lift 
part of the dye which has been prepared to the pad. 

Add a few drops of warm salt water to the mixture 
on the pad and rub in well with the brush. 

When you are ready to stencil, take the color 
from the pad with the stencil brush. 

This is better than using the dish, as it helps to 
prevent getting too much paint or dye unevenly on 
the brush. 



C 131 ] 



PRACTICAL DRAWING 



MATERIALS AND TOOLS 
1 Large stencil brush 
I Small stencil brush 
1 Medium stencil brush 
1 Bottle turpentine 

1 Glass color slab (Piece of window glass) 
12 Thumb tacks 

1 2 Well selected, Standard Oil stencil colors 
1 Bottle stencil dryer 
1 Bottle "Glazed Liquid" 
1 Bottle sweet oil 
Stencil-board, or manila paper 
Transfer paper 

Stencil-board may be purchased at Bradner 
Smith & Co., 175 West Monroe Street, Chicago. 

The three color-supply houses mentioned above 
furnish complete lines of colors and stencil supplies 
and outfits as well as prepared stencils ready for use, 
and will make special prices to schools. 

Stenciling for barrels, boxes, and on ground plot 
markers is usually done with stencils made of thin 
sheet metal. 

They may be worked out in the same manner as 
described above, using stencil-board. 

Have the wood clean and smooth and painted 
white before applying the black color over the stencil. 

C 132] 



Use the stencil brush and apply the black color. 

Use any black substance such as stencil black, 
quick drying black paint, etc. 

Thin with turpentine. 

In drawing letters leave connecting portions of 
the stencil-board in order to hold the parts forming 
the letters in place. See G.H., page 129. 

THINGS TO REMEMBER 

A fair knowledge of drawing is absolutely neces- 
sary if one makes his own stencil patterns. 

Provide a separate stencil brush for each color. 

Use turpentine very sparingly. 

Use a good sharp stencil knife for cutting out the 
stencil. 

If dye is to be used the stencil must be coated on 
each side with white shellac. 

Use stencil-board for the stencil pattern. 

Keep the stencil straight when repeating the 
stencil unit. 

Be sure that you set the color before washing. 

Apply the color sparingly and smoothly. 

If the fabric is heavy more color is required. 

Always plan the spacing for the design before 
beginning to stencil the colors. 

Experience is not necessary but it is a good asset. 



STENCILING 



Stenciling is not difficult to learn. 

Ways and means for each step readily suggest 
themselves to the beginner. 

Ground plot markers should be painted white 
before stenciling. 

The upper row of stencil designs represent single 
units on the straight line order, each design making a 
single unit. (Page 129.) 

The middle row represents single units drawn with 
the compass. 



The lower design represents a complete drawing 
for a stencil. 

Note that at each end the necessary parts have 
been repeated for matching (see CD., page 129). 

The drawings on the plate are only suggestive. 

Leaves, fruit, flowers, birds, animals, Turkish 
designs, Arabic designs, Greek weave and border, 
Oriental designs, etc., maybe worked out and used to 
good advantage. 

The art of stenciling is not new, In fact it is very old. 



C 133] 



CONCRETE WORK 



The beginning of the twentieth century has wit- 
nessed rapid strides in the use of concrete. It is not 
difficult to determine the cause. The scarcity of 
timber and lumber is the principal cause outside 
of all consideration of concrete in its value as con- 
structive material. The shortage of lumber simply 
has brought the world to a realization of its utility 
sooner than would otherwise have been the case. 

DEFINITION OF TERMS USED 
Aggregate — Crushed stone, gravel, or other substance used in 

concrete and joined in one mass by cement. 
Concrete — A building or constructive material made of aggre- 
gate, sand, and cement. 
Activity — The chemical action of cement when water is 

applied. 
Voids — The spaces between the parts of aggregate. 
Tamping — The pounding of cement to reduce voids and 

force the aggregate as closely together as possible into a 

compact mass. 
Crystallization — The chemical action of cement when coming 

in contact with water, commonly called setting of the cement. 
Efflorescence — The formation of a white crust on the surface 

of stone, brick, etc. 
Soa\age — The absorption of water by brick, concrete, etc. 
Soundness — The non-expansive quality of cement. 
Molds — Frames used to shape concrete into forms. 
C 134] 



Ramming — The beating or pounding of concrete to force out 
the water and compress the mass. 

Screeds — Levels used for guiding, leveling, and ruling off. 

Reinforcing — The use of steel rods and wire to increase the 
strength. 

Waterproofing — A dense coating of cement mortar over con- 
crete surfaces to prevent the absorption of moisture into the 
interior of the mass. 

Core — The mold used to form the hollowed-out part of cement 
or concrete work. 

KINDS OF CEMENT 

Natural Cement. — In various parts of the United States 
there is a natural rock from which the so-called natural cement 
is produced. The temperature used to produce it in its manu- 
facture is not as high as that required for producing Portland 
cement. 

Portland Cement. — Portland cement is produced by 
intimately mixing one part of limestone, marl, or chalk with 
three parts of cement rock, clay, shale, or slag, burning the 
two elements to semi-fusion and grinding the resulting clinker 
to an impalpable powder. The feature that distinguishes 
Portland cement from all others is the intense heat at which 
the pulverized raw materials are calcined and the accurate 
proportioning of the essential elements entering into its com- 
position. These elements are lime, silica, alumina, and oxide 
of iron and there must be in the finished product not less than 
1 .7 times as much lime by weight as of the other elements. 



CONCRETE WORK 



Pozzuolana Cement. — The cement used by the Romans 
was known as Pozzuolana cement. It was made from lime 
and volcanic dust. 

Things to Remember. — Do not purchase cement or stone 
till you know exactly what you are going to do and how you 
are going to do it. 

Familiarity with the rules governing the mixing and the 
proportions and quantities are absolutely essential to success. 

Do not guess at the measurements. 

Do not use less cement than any formula calls for. 

Mix thoroughly, and a little more. 

Put the concrete in place at once. 

Use clean water and clean stone, gravel, and sand. 

When working in concrete in the open air, cover the work 
with burlap or any light cloth to protect the work from air 
drcifts and from the sunlight. 

Never use cement that has once set. 

Never redampen a mixture that has commenced hardening. 
If you have such a mixture let it harden and then crush it, 
using it again as you would use crushed stone in the aggregate. 

Never neglect sprinkling. The more nearly like a mist 
the spray is the better for the work. 

While your work is in the plastic state it must be handled 
with extreme care. 

The best and quickest way to mend artificial stone is to 
make the stone over again. 

To ignore any of the above means failure; to follow them 
to the letter makes success certain. 

Formula. — Portland cement, one part; sand, three parts. 
The sand should be suitable silicious material, passing the one- 
fourth inch sieve, clean, gritty, and free from impurities. 



Mixing. — Thorough and vigorous mixing is absolutely 
necessary. 

The cement and sand in correct proportions shall first be 
perfectly mixed dry. 

Add the water carefully and slowly and work it thoroughly 
into and throughout the resultant mortar. 

Molding. — Due care shall be used to secure density and 
uniformity in the work by tamping or other suitable means of 
compression. 

Tamped work shall not be finished by simply striking off 
with a straight edge, but after striking off the top, surface shall 
be trowelled or otherwise finished to secure density and a 
sharp and true edge. 

Curing. — Every precaution shall be taken to prevent the 
drying out of the finished work during the initial set and first 
hardening. 

A sufficiency of water shall first be used in the mixing to 
perfect the crystallization of the cement, and eifter molding the 
work shall be carefully protected from wind currents, sunlight, 
dry heat, or freezing for at least five (5) days, during which 
time additional moisture shall be supplied by approved meth- 
ods, and occasionally thereafter until ready for use. 

Sand. — Only clean, sharp, and gritty sand, graded in 
size from fine to coarse and free from impurities, can be de- 
pended upon for the best results. Soil, earth, clay, and fine 
sand are injurious and at times dangerous. 

The so-called clean, very fine sand has caused much trouble 
in cement work and should always be avoided, but if impossible 
to obtain better sand the proportion of cement should be 
increased. 

[ '35] 



PRACTICAL DRAWING 



It is easy to determine clean sand. Sand which soils the 
hands when rubbed between them should not be used. 

Drop a quantity of sand into a pail of clear water. If 
in two minutes the water is clear enough to enable one to see 
the sand at the bottom, the sand is clezin. 

Water. — None but pure, clean water should be used. 

Fresh cement requires more water than cement that is stale. 

Do not use warm water. 

Use as much water as possible without causing the work to 
stick to the forms or to sag out of shape on removing the forms. 

Work made from material that is too dry is soft and weak. 

On the other hand, if too much water is used the material 
will stick to the forms. 

Coloring. — Mix the coloring material with the dry cement. 

This method assures a thorough coloring and a uniform 
shade throughout. 

Care in Tamping. — The satisfactory building of basins, 
troughs, flourboxes, etc. requires great care especially in 
tamping, to make the work water-tight and frost-proof. The 
voids also must be reduced to the lowest possible minimum by 
the use of various sized particles of sand in the aggregate. 
Mix the composition slightly damper than for ordinary tamp 
work; especial care must be taken not to jar or disturb the 
work after the tamping is completed. 

Forms. — In the making of forms material should always 
be used that is thick enough to make it certain that there will 
be no warping. Timber that has not been seasoned is prefer- 
able to dry material, which is apt to warp when brought into 
contact with the wet cement. 

Unless the work is to have a finishing coat, it is the usual 
practice to grease the forms or line them with paper. 

C 136] 



The bracing should be ample to stand all pressure. 

The longer the forms are left in place the better it will be 
for the concrete. 

It may be said as a general rule that not more than four 
inches of concrete should be placed in a form at one time, and 
each layer should be tamped thoroughly. 

The cuts represent concrete work done at the Agassiz 
Summer School, Chicago, under the supervision of Mr. J. W. 
Thompson. 

Dirt cores were made in forms or swept into shape with a 
sweep designed and built by the pupils in Mr. Thompson's 
classes. 

When the form cores were used another form larger and 
deeper than the core form was placed over the dirt core, braced 
and nailed, and the concrete tamped in place and over the 
bottom. When the concrete set the form was removed and 
the dirt core removed. 

The swept cores were covered with cement and swept into 
shape with another larger sweep shaped to form the outside 
of the work. 

By using the earth cores one saves time, labor, and 
expense. Use clean dirt. 

The earth cores must be tempered with water so that when 
a handful of the mass is grasped and pressed together it will 
hold its shape when the hand is opened. It must be neither 
too wet nor too dry. If it is too wet the dirt will stick to the 
hand; if too dry it will fall apart. The concrete should be 
mixed to same consistency. 

A careful study of the cuts will enable one to make small 
pieces of concrete work, using his own ideas of shapes, forms, 
etc. 




BOYS MAKING A DIRT CORE 



C 137] 




THE FORM REMOVED, SHOWING THE DIRT CORE 



C 138] 




COMPLETED WINDOW BOX OR WATER TROUGH 



[ 139] 




SWEEPING A DIRT CORE 



[ 140 ] 




SECTION THROUGH DIRT CORE 
Showing method of placing sweep. 



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To sweep the concrete after it is put on the dirt core. 




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COMPLETED CONCRETE WORK 



C 141 ] 



